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 CONTENTS

March 2018

Guest editor Emma Watson

wears Stella McCartney.
Mme A S Dåvik earring.
Make up: RMS Beauty “Un”
Powder and RMS Beauty “Un”
Cover Up in 11; on cheeks, The
Body Shop Lip & Cheek Stain
in Red Pomegranate; on lips,
Ilia Tinted Lip Conditioner in
In Paradise.
Stylist: Hannes Hetta
Photographer:
Peter Lindbergh
Hair: Odile Gilbert
Make up: Stephane Marais
Manicure: Anatole Rainey
Set design:
Jean-Hugues de Chatillon

64 EDITOR’S LETTER 100 110

66 GUEST EDITOR’S LETTER STATEMENT PIECES FRESH START
Emma Watson’s ultimate list of labels that limit There is no time like the present when change
70 CONTRIBUTORS
their impact on the world. comes not only from individuals, but from key
76 VOGUE VAULT
102 players in the fashion and beauty space. Vogue
78 THIS MONTH ON VOGUE.COM.AU
POWER DRESSING asks about their hopes for the future and how
82 VOGUE VIDEO Everyone knows clothes can be powerful to initiate change.

communication tools, but can they help 117

Viewpoint change the world? FROM THE HAND
86 106 Structured or throw-everything-into-it

FROM THE HEART CRAFT WORK pliable, the modern basket bag has gone

Fashion is more than the sum of its parts, as these United in purpose, designer Kit Willow from holiday to the everyday.

Australian designers, who produce pieces that are Podgornik and Eco-Age founder Livia Firth 120
VOL LXIII NO 3 WHOLE NO 645 *RECOMMENDED PRICE

considered both in design and ethics, prove. discuss the future they are helping to shape. Snapshot: Violet femmes; Lasting appeal;

94 108 Chop and change.

THE BUY-IN LET’S TALK SHOP 122

Actions are more satisfying than words when it As we enter the third decade of fast fashion, INNER CIRCLE
comes to investing in a wardrobe: Vogue’s guide environmental journalist Lucy Siegle assesses the A slew of labels are finding cut-through
to a new style day, less the negative impact. real price of our destructive appetite for trends. by having a heart.

48 MARCH 2018
play it like Hermès
 CONTENTS

March 2018
124 158
FLOW ON BLADE RUNNER
Free-falling, high-shine fabrics bring a brand of The youngest female ever to complete a polar
soigné sophistication to dressing that doesn’t trifecta, Jade Hameister is determined to send
require pouring oneself into anything. a message of empowerment to young women.
130 162
A BACKWARDS GLANCE HOME TRUTHS
Everything old is new again as the DNA of UNHCR Goodwill Ambassador Cate Blanchett
grand fashion houses is tweaked to create dissects the scale and severity of the global
fresh looks for now. refugee crisis, and how we all have a stake in
identifying and enacting solutions.
Arts 164
144 SET THEM FREE
OUR PLACE, OUR TIME Julia Ormond founded the non-profit Alliance
Radio broadcaster Brooke Boney discusses to Stop Slavery and End Trafficking in 2007.
race and empowerment with fellow Indigenous What has progressed over the past decade?
women, actress Miranda Tapsell and playwright 166
Nakkiah Lui. THREADS OF MEANING
148 Art patron Gene Sherman and Iranian-
WONDER WORLD Australian artist Nasim Nasr discuss fashion
Climate change expert, explorer and zoologist as forms of art and identity.
Tim Flannery on the challenges ahead to save 168
the Great Barrier Reef. THE INCREDIBLE
152 LIGHTNESS OF BEING
STAR ATTRACTION Artistic director Pierre-Alexis Dumas on the
Australian engineer Beth Jens works at the handcrafted pieces he conceives and finding
NASA Jet Propulsion Laboratory on technologies lightness amid darkness.
she hopes will not only help space exploration but 172
make this world a better place. SEEDS OF HOPE

154
GRAPHIC DETAIL
A Prada campaign catapulted artist Stellar
Leuna’s feminist characters into the spotlight.
D U N C A N K I L L I C K J A K E T E R R E Y E D WA R D U R R U T I A
When you sponsor a child, you’re sponsoring a
community, but how? World Vision ambassador
Jessica Gomes took Vogue with her to India to
witness shifting grassroots.

157
UNDER COVER
A passionate reader who leaves books in public
spaces and has her own online book club, Emma
Watson reveals some of her favourite tomes.
SUBSCRIBE TO VOGUE
TU RN TO PAG E 198 TO SU B SCRIB E
O R REN EW AN D AN D RECEIVE A
BO N US KIEH L’ S FACIAL MASQ U E .

52 MARCH 2018
 CONTENTS

March 2018
Beauty 260
CENTRE PIECES
178
Spring/summer ’18’s ultimate accessories all
SHE DARES
quicken the heart. Don’t let them walk on by.
The new woman of the moment lets her eyes do
the talking via punchy colour, tricked-up texture 268
and an ample dose of attitude. RISE & SHINE
In glistening fabrics and high-octane radiance,
184
Sudanese-born Adelaide model Adut Akech rises
SOFTLY, SOFTLY
up from the surf to take on the new season’s mood.
It’s colour, but not as you know it. Runways this
season were awash with barely there pigments
that seemed to whisper their arrival.
Features
232
186
MEETING OF MINDS
CLEAN SLATE
UN Women Global Goodwill Ambassador Emma
As backstage beauty becomes experimental,
Watson speaks with Nobel Peace Prize winner
the simple things flawless skin, pillowy lips,
Malala Yousafzai, currently studying at Oxford
healthy hair – have an allure of their own.
University, about the importance of education.
188
236
SILVER LINING
MORAL FABRIC
At nearly 70 years old, model Maye Musk
Stella McCartney, renowned for being at the
is helping to challenge our preconceptions.
forefront of ethical and sustainable luxury
190 fashion, shares her hopes for the future.
BEAUTY TO ME
282
Emma Watson shares her natural beauty routine.
MAKING HER MARK
192 Madeline Stuart, as the world’s first professional

238 THE KINDNESS ECONOMY

It appears that kindness may well be the key to
model with Down syndrome, is putting diversity
front and centre on the catwalk and inspiring
health, happiness and longevity.
others to achieve their goals, too.

Fashion Voyage
202 286
CAUSE & EFFECT N I CO L E B E N T L E Y N A G I S A K A S E B A S T I A N K I M
RESCUE MISSION
Emma Watson, photographed by Peter Lindbergh
South Australia’s Arkaba, a former sheep station
in an edit of fashion brands that met a robust
turned nature conservancy, is using tourism
standard of sustainability and ethics.
dollars to fund the ambitious restoration of
238 a near-ruined outback landscape.
SPEAK VOLUMES
The new shapes come alive on model Charlee 291 HOROSCOPES
Fraser: day to night, a vision of things to come. 296 LAST WORD

56 MARCH 2018
 Edwina McCann
Editor-in-Chief editor@vogue.com.au

D eput y E d it or a nd Fe at u re s D i re c t or S OPH I E T E DM A NS ON
features@vogue.com.au

Fa sh ion D i re c t or C H R I ST I N E C E N T E N E R A

Cre at i ve D i re c t or at L a r ge A L I S ON V E N E S S

ART art@vogue.com.au
A r t D i re c t or M A N DY A L E X
S en ior D e sig ner s BE C M C DI V E N   DIJA N A M A DDI S ON Ju n ior D e sig ner A RQU E T T E C O OK E

FASHION fashion@vogue.com.au
S en ior Fa sh ion E d it or K AT E DA RV I L L
Fa sh ion E d it or a nd Ma rket D i re c t or PH I L I PPA MORON E Y
Ju n ior Fa sh ion E d it or PE T TA C H UA   Ma rket E d it or BE T H I E GI R M A I
Fa sh ion A s si s t a nt R E BE C CA B ON AV I A

BOOK INGS bookings@vogue.com.au

Phot og ra phy a nd C a s t i ng D i re c t or R I K K I K E E N E   B o ok i ng s E d it or DA N ICA O S L A N D

FASHION FEATURES vogue@vogue.com.au

Fa sh ion Fe at u re s a nd C ont ent St rat e g y D i re c t or Z A R A WONG
S en ior Fa sh ion Fe at u re s E d it or A L IC E BI R R E L L

BEAUTY beauty@vogue.com.au
S en ior B e aut y E d it or R E M Y R I PP ON
He a lt h E d it or at L a r ge JODY S C O T T   B e aut y S p e cia l P roje c t s R IC K Y A L L E N

COPY copy@vogue.com.au
Travel E d it or a nd C opy E d it or M A R K S A R I BA N
D eput y C opy E d it or a nd L i fe s t y le Wr it er C US H L A C H AU H A N

Su s t a i n a bi l it y E d it or at L a r ge C L A R E PR E S S

A r t s Wr it er JA N E A L BE R T

E d it or ia l C o ord i nat or R E BE C CA S H A L A L A

DIGITA L vogue@vogue.com.au
D ig it a l E d it or ia l D i re c t or J U L I A F R A N K
A s s o ciat e D ig it a l E d it or L I L I T H H A R DI E LU PICA   A s si s t a nt D ig it a l E d it or s DA N I E L L E G AY   F R A NC E S CA WA L L AC E

CONTRIBUTORS
A L IC E CAVA N AGH ( Pa r i s)   V IC T OR I A C OL L I S ON (S p e cia l P roje c t s E d it or)   PI PPA HOLT ( L ondon)   N ATA S H A I NC H L E Y ( Fa sh ion)

EDITORIA L ADMINISTR ATION AND RIGHTS

D ig it a l A s s et s a nd R ig ht s Ma na ger T RU DY BI E R N AT D ig it a l A s s et s a nd R ig ht s C o ord i nat or J E S S ICA R IC H MON D

Nat ion a l S a le s a nd St rat e g y D i re c t or, St y le N IC OL E WAU DBY (02) 8 0 4 5 4 6 61 .

He ad of Bra nd St rat e g y, St y le M E R RY N DH A M I (02) 92 8 8 10 9 0. He ad of D ig it a l C om mercia l St rat e g y, St y le A M A N DA S PAC K M A N (02) 8 0 4 5 4 6 5 8 .  
NS W Group S a le s Ma na ger C H E Y N E H A L L (02) 8 0 4 5 4 6 67.
NS W Key Ac c ou nt Ma n a ger s K AT E C OR BE T T (02) 8 0 4 5 47 3 7. CAT H E R I N E PAT R IC K (02) 8 0 4 5 4 613 . J E S S ICA L A M B (02) 8 0 4 5 4 675 . 
Br a nd St r at e g y Ma n a ger T E S S A DI XON (02) 8 0 4 5 474 4 . He ad of St rat e g ic Pa r t ner sh ip s H A N N A H DAV I D -W R IGH T (02) 8 0 4 5 49 8 6 . 
D ig it a l Bra nd Ma n a ger K R I ST I N A K A R A S S OU L I S (02) 92 8 8 174 3 . NS W C a mpa ig n I mplement at ion Ma na ger K AT E DW Y E R (02) 92 8 8 10 0 9.
NS W Ac c ou nt E xe c ut i ve s , St y le A N A STA S I A PA PAY IORY IOU (02) 92 8 8 132 4 . CA I T L I N PAT E R (02) 8 0 4 5 4 6 5 3 . 
Vic t or ia S a le s D i re c t or, St y le K A R E N C L E M E N T S (0 3) 92 92 32 02 . Vic t or ia He ad of S a le s E L I S E DE S A N T O (0 3) 92 92 162 1 . Vic t or ia Group B u si ne s s Ma n a ger N A DI N E DE N I S ON (0 3) 92 92 32 2 4 .
Vic t or ia He ad of D i re c t S a le s & Pa r t ner sh ip s JO C ONSTA BL E (0 3) 92 92 32 0 3 . Vic t or ia C a mpa ig n I mplement at ion Ma na ger R E BE C CA RODE L L (0 3) 92 92 195 1 .
Q ue en sla nd C om mercia l D i re c t or, L i fe s t y le RO S E W E GN E R (0 7) 3 6 6 6 69 0 3 . Vic t or ia Ac c ou nt E xe c ut i ve S A R A H-JA N E BAC ON (0 3) 92 92 32 0 8 .
C la s si f ie d Ad ver t i si ng R E BE C CA W H I T E 13 0 0 13 9 3 0 5 . A sia : K I M K E NC H I NGT ON , Me d iawork s A sia (8 52) 2 8 82 1 10 6 .

Ad ver t i si ng Cre at i ve D i re c t or R IC H A R D M C AU L I F F E Ad ver t i si ng Cre at i ve Ma na ger E VA C HOW N 

Ad ver t i si ng Cre at i ve P ro duc er s J E N N Y H AY E S S A R A H M U RY
Cre at i ve S er v ic e s S en ior A r t D i re c t or s A M A N DA A N DE R S ON CA RY N I S E M A N N 
Ad ver t i si ng C opy E d it or s A N N E T T E FA R NS WOR T H BRO OK E L E W I S ROB BA DM A N 

P ro duc t ion Ma n a ger M IC H E L L E O ’ BR I E N Ad ver t i si ng P ro duc t ion C o ord i nat or GI N A J I A NG

G enera l Ma n a ger, R et a i l S a le s a nd Ci rc u lat ion BR E T T W I L L I S Su b s cr ipt ion s Ac q u i sit ion Ma na ger GR A N T DU R I E Su b s cr ipt ion s R et ent ion Ma na ger C RYSTA L E W I NS

D ig it a l D i re c t or J U L I A N DE L A N E Y S en ior P ro duc t Ma na ger CA S S A N DR A A L L A R S 

P ro duc t Ma na ger T I N A I S H A K Plat for m Ma na ger DAV I D BE R RY

Ma rket i ng D i re c t or – L i fe s t y le DI A N A K AY Bra nd Ma na ger s R AC H E L C H R I ST I A N K I M BE R L E Y GR AC E Event Ma rket i ng Ma na ger BRO OK E K I NG 

Event s Ma n a ger GE N E V I E V E M C CA S K I L L Ma rket i ng C o ord i nat or MON IQU E W E H R M A N N

C h ief D ig it a l O f f ic er N IC OL E S H E F F I E L D
D i re c t or of C om mu n ic at ion s S H A RY N W H I T T E N
G enera l Ma na ger, Net work S a le s , NS W PAU L BL AC K BU R N
Prestige and Lifestyle Director NICK SMITH

VO GU E AUST R A L I A m a ga z i ne i s pu bl i she d by New sL i feMe d ia P t y Lt d (AC N 0 8 8 92 3 9 0 6). I S S N 0 0 4 2 - 8 019. New sL i feMe d ia P t y Lt d i s a w hol l y ow ne d s u b sid ia r y
of New s L i m it e d (AC N 0 0 7 8 7 1 178). C opy r ig ht 2 018 by New sL i feMe d ia P t y Lt d . A l l r ig ht s re s er ve d . 2 Holt St re et , Su r r y H i l l s , NS W 2 010. Tel : (02) 92 8 8 3 0 0 0.
Po s t a l add re s s: Vog ue A u s t ra l ia , New sL i feMe d ia , L evel 1 , L o cke d B a g 5 0 3 0, A lex a nd r ia , NS W 2 015 . E m a i l : e d it vog ue au s t @ vog ue .c om . au .
Melb ou r ne of f ic e : H W T Tower, L evel 5 , 4 0 Cit y R oad , S out h ba n k , Vic t or ia 3 0 0 6 . Tel : (0 3) 92 92 2 0 0 0. Fa x : (0 3) 92 92 32 9 9.
Br i sba ne of f ic e : 4 1 C a mpb el l St re et , B owen H i l l s , Q ue en sla nd 4 0 0 6 . Tel : (0 7) 3 6 6 6 6910. Fa x : (0 7) 3 62 0 2 0 01 .

Su b s cr ipt ion s: w it h i n A u s t ra l ia , 13 0 0 6 5 6 93 3 ; over s e a s: (61 2) 92 82 8 02 3 . E m a i l : s u b s @ m a g s on l i ne .c om . au .

Su b s c r ipt ion s m a i l : Ma g s on l i ne , R epl y Pa id 8 70 5 0, Syd ney, NS W 2 0 01 (no s t a mp re q u i re d). We b sit e : w w w.vog ue .c om . au .

C ondé Na s t I nt er n at ion a l JON AT H A N N E W HOUS E C ha i r m a n a nd C h ief E xe c ut i ve WOL F G A NG BL AU P re sident

JA M E S WO OL HOUS E E xe c ut i ve Vic e P re sident

P r i nt e d by PM P L i m it e d . Pa p er f ibre i s f rom s u s t a i na bl y m a na ge d fore s t s a nd c ont rol le d s ou rc e s .

60 MARCH 2018
 VOGUE

Editor’s letter

E
ven though she had already won us over on our cinema screens, Emma Watson cemented our
respect when she stood up and delivered her powerful HeForShe speech at the United Nations
in 2014. How visionary her words seem today.
Our March issue always focuses on the new season’s fashion, but this March feels like the
right time to talk about more meaningful change than simply the shape and hemlines of our
clothes. When Emma said: “Don’t expect change to happen overnight. Even if it is not always visible, it’s
making more impact than you think”, her words resonated with me. Here was an opportunity for Vogue to
highlight all the positive work and impact that so many extraordinary trailblazers are already having on
our environment – changing our thinking and behaviours in the process. It was also a chance, I thought,
to spotlight some of the issues that really do still need acknowledging, areas in which we can all make
improvements to help make the world a more equal, accepting, sustainable and kind place. Who better to
lead us in that direction than Emma Watson?
Our team was thrilled when she accepted our offer to guest-edit this issue, and we are extremely proud
of the truly collaborative result. The voices she has engaged – Malala Yousafzai, Tim Flannery, Stella
McCartney, Maye Musk and more – speak loudly throughout this magazine, and Emma’s personal
commitment to sustainable fashion and the process of putting together this issue has introduced us to new
ways of thinking and tools to help us be better informed. The challenges she has posed have set us in
new directions, which will be lasting.
I am very grateful to Emma for making the trip to Australia and visiting us in our offices, and for the
intelligent and respectful manner with which she approached this project. She really is our champion of
change and we hope she – and this issue – inspires you, too.

DAV E W H E E L E R

EDWINA MCCANN EDITOR-IN-CHIEF

64 MARCH 2018
Emma’s edit.

VOGUE

Guest editor’s letter

a
fter a year dominated by an alarming newsfeed, it seems we have hit Vintage Comme des Garçons dress, from Re See.
Vintage Jil Sander top, from De Laurentis. Vintage
a turning point in 2018. Silenced voices are becoming amplified and
military boots, from La Compagnie du Costume.
media outlets are shining a spotlight on the people and groups
challenging for change. The pages to follow in this issue, Designing
the Future, is a part of that change.
The word ‘change’ can be intimidating, riddled with expectation of outcomes and fear
of failure. So I want to propose something to you: when steering a boat, a captain can
shift the wheel one degree and it drastically changes the course of the boat. I would like
to challenge you, after reading this issue, to make a one-degree shift, because a small
change can make a huge difference.
Thank you, Vogue Australia, for allowing me this platform to share stories and
All brands worn by Emma
movements I care about. Thank you, Peter Lindbergh, for your careful eye and such a Watson in this issue have been
joyous shoot. Thank you to all the collaborators for sharing your voice and your self. And rated by Good On You.
Good On You’s ratings system
D E TA I L S AT V O G U E . CO M . A U / W T B

lastly, thank you to anyone picking up this issue and reading it. You are the biggest assesses a fashion brand’s
piece to the puzzle of our global wellbeing. Join me in a one-degree shift! impact on labour, the
environment and animals, so
consumers can make better
PETER L NDBERGH

ethical choices. Use the Good

On You app for quick checks
when shopping. Go to
www.goodonyou.eco.
E M MA WATSO N GU EST ED ITO R

66 MARCH 2018
 TATOUAGE COUTURE
MATTE STAIN
HIGH PIGMENTATION MATTE COLOUR
TATTOOED ON YOUR LIPS.
18 COLOURS. 18 CONVICTIONS

#HERE TO STAY
VOGUE
Contributors
PETER
LINDBERGH
Photographer Peter Lindbergh
may be most well known for his
iconic 1990s images of the ‘supers’
– Cindy Crawford, Christy
Turlington, Naomi Campbell and
Linda Evangelista – but has been
creating portraiture and fashion
photography, always etched in a
signature black-and-white style,
since 1978. His narrative shoots
currently appear in the pages of
Vogue, Vanity Fair and the New
Yorker, among others. For this
issue Lindbergh captured Emma
Watson – plus a goat and a pair
of whippets – in the stunning
French countryside.
70
ODILE GILBERT
Hairstylist Odile Gilbert was
the creative hand behind Emma
Watson’s new look, chopping her
hair on set to create ‘baby bangs’
for our cover shoot. Inspired by
Audrey Hepburn, Gilbert
explains the new ’do was happily
embraced by Emma. “She loves to
play with her hair; we tried a lot
of styles and the bangs were
really cute on her.”
MALALA
Female rights activist Malala
Yousafzai became history’s
youngest Nobel Peace Prize
laureate after defying the Taliban
in her native Pakistan. Malala
has continued her mission to
expand education for women
including establishing the Malala
Fund to build schools and secure
the right to a quality education
for girls. “I’m shaping the future
by making sure that every girl
gets access to education,
technology and the opportunities
to fulfil her potential.” Malala
spoke with our guest editor
Emma Watson. Read their
conversation from page 232.
HANNES HETTA
Swedish stylist Hannes Hetta
had the task of sourcing only
sustainable clothing to style
Emma Watson for our cover shoot,
and took to it more as a form of
investigative journalism than the
usual fashion editing. “I knew,
of course, that this would limit
our selection of clothes quite
dramatically compared to what
I would typically prepare for a
major talent. I wanted to make
a point of shifting most people’s
perception of sustainable fashion.
The term brings to mind hemp
T-shirts and drab hand-dyed
linen, but the reality is there are
so many great designers working
PETER LINDBERGH TESS THOMAS/MALALA FUND
with sustainability already that
you can really find anything,
as long as you look closely.”
MARCH 2 0 1 8
VOGUE

Contributors

JULIA ORMOND
A former UN Goodwill
Ambassador against Trafficking
and Slavery, British actress Julia
Ormond’s passion to fight for CATE BLANCHETT
AMELIE HEGARDT human rights led her to found the
non-profit ASSET – Alliance to
Since she was named a UNHCR
Illustrator Amelie Hegardt Goodwill Ambassador in
depicted this season’s accessories Stop Slavery and End Trafficking. May 2016, Cate Blanchett has

CLARE PRESS
guide ‘Centre pieces’ on page 260. After meeting Vogue on a film set undertaken fact-finding missions
When asked what the biggest in Sydney last year, she agreed to to Lebanon and Jordan and met
“The biggest change to happen in write an essay about modern with refugees who have been
change she hopes will happen in
my lifetime is already happening: slavery. “I’m shaping the future displaced by the Syrian conflict.
her lifetime, she responds: “That
climate change. Global warming by enabling consumers to vote In January she was honoured
we look beyond gender, heritage
and extreme weather projections for the world they want socially with the World Economic Forum
and obsession with ourselves and
are scary, but I feel hopeful – and environmentally, every Crystal Award – for artists who
start to look at ourselves for the
there are so many inspiring single time they use their make a positive change in society
person we would like to be and
people, particularly younger wallet,” she says. Read about – at the WEF conference in Davos.
the way we would like to behave
women, emerging in the green how all of us can help facilitate Read Blanchett’s essay on the
and treat others. I hope we will
movement,” says writer Clare change on page 164. international refugee crisis
reach a global fatigue on the
Press, who has been appointed on page 162.
culture of selfies and its self-
Vogue Australia’s first
congratulatory vanity.”
sustainability editor-at-large.
Read her story on the Great
Barrier Reef from page 148.

GEORGIA BL ACK E GET T Y IMAGE

72 MARCH 2 0 1 8
 VO G U E VAU LT

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Campbell is captured wearing a knee-length crane-printed silk dress by then fledgling
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needed to be on a plane bound for the shoot in Paris the next day.
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Looking at it 21 years later, it says equality and enlightenment. And speaks of a brave heart.”

76 MARCH 2 018 76
HUGOBOSS.COM
 ONLINE

#VogueGameChangers
This month on Vogue.com.au we celebrate our inaugural Vogue Game Changers, people such as
these, affecting change, transforming the fabric of society and the way we think, act and consume. It’s
a diverse, empowering and inspiring group hailing from fashion, beauty, the arts, business, technology,
science, environmentalism, humanitarianism and sport. Join the conversation: #VogueGameChangers

Livia Firth Rebel Wilson

Cate Blanchett Emma

Watson

See Vogue.com.au this fashion month as we take you to New York, London, Milan and Paris.
T WIT TER , FACEBOOK , INSTAG R AM AND TUMBLR: @VO G U E AU STR ALIA ; SNAPCHAT: @ M I S SVO G U E AU STR ALIA

P H OTO G R A P H S : G E T T Y I M A G E S I N D I G I TA L

Street style
in Milan.

78 MARCH 2018
KitX
 Behind the lens
Guest editor Emma Watson stars in an exclusive Peter Lindbergh-directed film on the set of this month’s
cover shoot. See Watson up close and personal as shot by the legendary fashion photographer on location
in the French countryside. Visit Youtube.com/vogueaustralia to watch the full fashion film.

www.youtube.com/vogueaustralia
82 MARCH 2018
V O G U E

V I E W

P O I N T
86
 KATE SYLVESTER
For 2018, Kate Sylvester and her team
are focusing on their local community.
Their office boasts a staff vegetable
garden, recycling systems and there
are plans for a worm farm and work
with local initiatives and charities to
recycle fabric waste. “We are proud
to be conscious producers of fashion
taking a mindful, considered
approach to garment production and
business practice,” says Sylvester.
Kate Sylvester dress, $829.
Jordan Askill earring, bracelet,
and rings, all P.O.A., all worn
throughout. Feit shoes, $600,
worn throughout.
M A K E- U P: P E T E R B E A R D H A R : S O P H E R O B E RT S M O D E L : M A G G E J A B LO N S K I
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

M A R C H 2018 87
Emma’s edit.
VOGUE V IEW POINT

BIANCA SPENDER
“In the fashion industry, fabric
manufacturing is where the greatest
environmental impact occurs,” explains
the designer, who in her business has
implemented as many ethical and
sustainable practices as possible, from
design to operations. Spender is also
careful to use natural biodegradable
fibres, has adopted 100 per cent green
power in the office, and champions
recycling. “I think it is important for us to
promote a dialogue around sustainability
and approach it holistically, looking at
all the layers in the industry.”
Bianca Spender top, $425, and dress, $795.

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
JAKE TERREY

88
M A R C H 2018 89
Emma’s edit.
VOGUE V IEW POINT

MAGGIE
MARILYN
From designing to
production, New Zealand
designer Maggie Hewitt
keeps it close to home. “We
know our makers on a
first-name basis and they
have become an important
part of the Maggie Marilyn
family.” The recent collection
includes polyester made from
recycled plastic. “I would love
to use more fabric that reuses
waste that would otherwise
end up in landfill,” she says.
Maggie Marilyn
dress, $700, camisole,
$540, and pants, $390.

JORDAN ASKILL
“My brand embodies all that I feel is
important and precious in the natural
world,” says jeweller Jordan Askill, whose
designs, when possible, use materials

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
that come from certified recycled sources
and facilities that are members of the
Responsible Jewelry Council. Askill will
continue his mission to promote the
protection of endangered species; the
current collection is based on ocean
conservation body Oceana’s campaign
to protect a species of shark. “My aim is to
continue to focus on establishing a truly
ethical brand that is running in the most
JAKE TERREY

sustainable way possible.”

Jordan Askill rings, all P.O.A.

90
 GINGER
& SMART
“Social responsibility on many levels
has always been a key imperative in
our business … from the materials to
the design process and in our
boutiques,” say Alexandra and
Genevieve Smart, the designers
behind the label. Embracing their
Australian roots with prints inspired by
the native flora and landscape, the
sisters’ explorations have led them to
use low-impact methods of producing
fabric, source more sustainable textiles
and move to cloud-based systems to
eradicate paper. “Small decisions
contribute to the picture and move
conscious businesses that take social
responsibility seriously towards
a better way of doing business.”
Ginger & Smart dress, $2,500.

M A R C H 2018 91
Emma’s edit.
VOGUE V IEW POINT

NOBODY DENIM
Nobody Denim, founded
by brothers Nick and John
Condilis, is accredited by

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
Ethical Clothing Australia
and is proud to be entirely
designed and made in
Melbourne. “We believe that
fashion should be made in
a safe environment where
creativity, quality and people
are valued equally. We want
to be involved in this current
movement of awareness.”
JAKE TERREY

Nobody Denim jeans,

$219, and T-shirt, $79.

92
AKIRA
A long proponent of slow
fashion, Akira Isogawa and his
team are planning to be vocal
about the value of investing
in timeless garments and the
workmanship that goes into
his designs. “By educating our
customers about elements
such as these, which add value
to our garments, hopefully
there will be a shift in mind-set
in investing in garments that
hold their value in the future.”

FEIT
Josh Price, one-half of Feit alongside
his brother Tull, is proud of their
footwear and accessories label’s
policy of using biological materials
and natural treatments where
possible. “When natural material is
treated naturally, the difference in
the quality and the environmental
impact is massive. As all Feit
materials are natural, the product will
eventually biodegrade,” says Josh.
Akira top, $968, skirt, $473, and
pants, $429. Feit shoes, $600.

M A R C H 2018 93
Emma’s edit.
VOGUE V IEW POINT
The buy-in
Actions are more satisfying than words,
particularly when it comes to investing
in a wardrobe. What follows is Vogue’s
guide to a new style day, less the
negative impact. By Alice Birrell.
It’s a dizzying world out there, especially
when trying to do the right thing. As it turns
out action is easy, and extremely shop-able
when you know how. Simple mental notes,
a shift in thinking or reintroducing something
already practised that doesn’t cost anything at
all equate to a better wardrobe.
94
SWIM:
TA K I N G O U T
W H AT W E P U T I N
(TO TH E OCEAN)
Swim has the terrific advantage
of being able to be made from
recycled plastics, including old
nylon fishing nets that are
made into a fabric called
Econyl. The resultant material
is good as new and being used
increasingly in the mainstream.
VOGUE LOVES: Baserange
uses recycled materials; Her
Line, She Made Me and Camp
Cove are all Australian labels,
made ethically.
RECYCLING:
Forty per cent of landfill is
clothing, but it doesn’t have to
be. Faye De Lanty, ambassador
for Salvos Stores, says more
than 90 per cent of clothing
that is thrown away can be re-
used or re-sold if what we
donate is good quality. “Try to
be a little discerning with
what you do and don’t donate.
A good question to ask is: ‘Is it
something you would gladly
give to a friend?’” she advises.
Help charities avoid throwing
out any clothing unfit for
re-sale (a problem in the
sector) by following her tips:
• “Think of the Salvos when
quality goods become surplus
to your needs.”
• “Log on to www.salvos.org.
au/stores to find your nearest
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
store, or call 13 72 58.”
• “Drop off clothing or goods
during store hours or call
them to arrange a free
collection.”
VOGUE LOVES: 100 per
cent of the profits from
Salvos Stores goes straight
to helping people who are
GEORGINA EGAN
going through issues such
as homelessness, addiction
and depression.
MARCH 2018
Emma’s edit.
VOGUE V IEW POINT

JEWELLERY:
S TAT E O F O R I G I N
The industry is waking up to the impacts of
mining and the fraught nature of sourcing
conflict-free diamonds. Thanks to a concerted
effort, less than one per cent of new
diamonds are conflict, down from 15 per cent
three decades ago. It’s a high human and
environmental cost area, so it pays to be
considered. Ask a jeweller in-store to confirm
the source, or even better, buy lab-grown
diamonds, made using the same process that
occurs in nature, with extreme pressure and
heat. What’s more, their grade can equal the
top two per cent of diamonds in the world.
GREEN AND GOLD
Fair-trade standards for gold were set out
for the first time in 2010, and can now be
accredited as such. The difference between
mines that adhere to these standards and
those that don’t is confronting. It’s difficult
to ensure gold is fair-trade, but asking the
question is the start of change.
THREE CHEERS FOR ARTISANS
Smaller brands take an artisanal approach:
made in a workshop, often by one person, by
hand and in small quantities, and all that is
good news for the environment.
V O G U E L O V E S : Cartier, Chopard and
Bulgari’s commitment to the Kimberly Process
Certification, which ensures no conflict
diamonds enter the market; Tiffany & Co.’s
refusal to use coral as a material; artisanal
brands Holly Ryan, Meadowlark and Sarah
& Sebastian, which ethically source and
produce their precious pieces; and
fair-trade gold certified Larsen.

THE PRINCIPLES TO LIVE BY:

1 . S LOW FA S H I O N
Commercial concerns have been winning out over quality for a long time now, but a new
wave of thinkers are joining an old guard committed to longevity. Wardrobe NYC, Josh Goot
and Vogue’s fashion director Christine Centenera’s new label, is a line-up of contemporary
classics made for keeps. They join the thinking of artisans like Sydney stalwart Jon
McCarthur’s Purl Harbour. Charmingly, you still phone his personal mobile to order one of
his hand-knitted jumpers.
2 . R E PA I R , R E W E A R
Mending a hole, re-stitching a hem and re-soling shoes are inexpensive and being revived
– you just have to look to Miuccia Prada’s home-hewn-feel collections of late to know. Join a
sewing group to brush up on skills or firm up an arsenal of fix-it services. The thrill of
picking something up from the tailor is akin to buying new.
3. EXERCI SE CON SU M ER POWER
Grassroots power lives on. Asking the right questions and voting with your wallet are
already impacting the behaviour of designers and retailers, with only more to come.

96
Emma’s edit.
VOGUE V IEW POINT

VINTAGE:
Vintage is infinitely more sustainable as it Here are Vogue’s digital picks of the
doesn’t feed more raw materials into the best vintage, recycled designer and
clothing loop. With the influx of cheaper all-Instagram shops.
clothes in the last few decades though, TRUE VINTAGE:
sometimes these can wind up labelled The Mercantile (www.themercantile.com)
‘vintage’ when they’re less than a few years Re-see (www.resee.com)
old (and won’t last many more). Common 1st Dibs (www.1stdibs.com)
sense will tell you if it’s near-new and if it’s Storeroom Vintage
hard to tell, hunt for the label: it often shows (www.storeroomvintage.com)
its age. Talk to the vintage storeowner – the Cara Mia Vintage (www.caramiavintage.com)
more curated a boutique the better, and INSTAGRAM STORES:
the less likely pieces will fall apart Na Nin Vintage @naninvintage
ONLINE: The Corner Store @the_corner_store
Vintage is a broad term that runs the gamut of The Vintage Edit @the_vintage_edit
rare once-in-a-lifetime finds (and investment) I Am That Shop @iamthat_shop
to completely accessible price points. Once SECONDHAND:
the domain of the committed vintage Hardly Ever Worn It
connoisseur, and requiring trips to Paris (www.hardlyeverwornit.com)
flea markets (and bottomless energy), The Real Real (www.therealreal.com)
ACCESSORIES: recycled fashion is now available at a quick Vestiaire Collective
T H E R E ’ S L E AT H E R , A N D click, with dealers and boutiques putting (www.vestiairecollective.com)
T H E N T H E R E ’ S L E AT H E R their prize pieces online. Go to Vogue.com.au for the full directory.
If you are going to wear leather, accessories
are the pieces that are worth investing in.
Luxury labels that exclusively make one type
of accessory like shoes – think Church’s,
Manolo Blahnik – make them with longevity
in mind. R.M. Williams boots can last
decades, truly.
I T ’ S FAUX N OT FA K E
The real thing is what you decide it to be.
Who says leather and fur are real if you prefer
faux? Technology has meant faux can look as
good as the original, as at Stella McCartney,
which tags its pieces ‘fur-free fur’.
V O G U E L O V E S : All-faux-fur label
Shrimps and vegan sunglasses queen Poppy
Lissiman; the everlasting leather of R.M.
Williams; ethical bag labels M2Malletier;
vegan Sans Beast and The Wolf Gang, which
uses vegetable-tanned leather; Byron Bay’s
St. Agni, which selectively sources leather
to reduce waste.

GOOD ON YOU
Used throughout the issue, Good On You’s
ratings system assesses a fashion brand’s
impacts on labour, the environment and
animals, so consumers can make better
shopping choices. Download the Good On
You app on your smartphone for quick
checks of brand ratings while shopping to
discover more ethical alternatives.
For more information, go to
www.goodonyou.eco.

98
Emma’s edit.
VOGUE V IEW POINT

Statement pieces
Guest editor Emma Watson knows her way around labels that limit
their impact on the world. She shares with Vogue her ultimate list.

NAMES TO KNOW
K WA I DA N E D I T I O N S
“Their trench is a modern take on a classic. The majority of their production takes
place in France, with a small amount in Italy, at regularly visited facilities. They use
recycled bottles and materials to produce a number of products, which reduces the
impact on raw materials and water usage.”

GOOD GUYS
“Their shoes are versatile and easy. I can wear them with or without socks and put
them in the washing machine. I like that I can exercise in them and also travel in
them. They are super-comfortable and pass as everyday wear. [My go-tos are] their
lace-up nude trainers and the classic black trainers.”

NAJA
“Their stuff is amazing! They employ women and single mums to make their
products and offer an eco-line of underwear. I especially love their nude line of
lingerie. I wear it under all my premiere and red-carpet dresses.”

B O O DY
“Another staple! All my socks come from them and they do such a comfortable
sports bra/everyday bra. They use organic bamboo (one of the fastest growing
plants) to create a blended fabric, which is extremely soft and comfortable. Their
factories are zero waste and have a closed loop system to not waste water.”
TEEKI
“This is an amazing athletic-wear company and I recently bought some fun, loud
prints like leopard and American-flag yoga pants from them. If you haven’t checked
out their website, you should … they are extremely transparent and it’s exactly how
I hope one day every brand will communicate their practices.”
MY SISTER
“This is a great brand that helps survivors of sex trafficking and uses environmentally
friendly practices. My friend gave me an amazing T-shirt [that says]: ‘My body, my
choice’ by them for Christmas, and it’s so cute!”
LV T
“You know when you meet someone who would give you the shirt off their back?
Well, that’s quite literally Lilian [von Trapp]. I met her and we chatted about her
jewellery line made from upcycled materials and she took the ring off her finger
to place on mine. I wore a few of her amazing pieces at the Golden Globes, including
a few rings and earrings.”
WHAT GOES AROUND …
“One of my favourite things is finding vintage pieces or
new ways to wear my existing wardrobe. It’s a great way of
building a wardrobe to last through the years, from one
stage of life to the next. I started cutting up a bunch of old
band T-shirts and weird Harry Potter crew shirts I haven’t
been wearing – cutting the sleeves, cutting the bottoms –
and now I’m wearing them again. My mum recently gave
me some of her old belts, so I’ve been using those.”
LOCAL FLAVOUR
“There are a few Australian brands that I recently
discovered and am excited to wear, including Lois Hazel,
Carlie Ballard and Nobody Denim. Lois Hazel is super-
transparent and uses the best quality materials. Carlie
Ballard takes working conditions to another level of ethical
by offering paid study leave, literacy classes during
working hours and interest-free loans to employees.
Nobody Denim is dedicated to crafting the perfect
D E TA I L S AT V O G U E . CO M . A U / W T B

denim, and have a range of classic styles and cuts. Love

RVDK these guys!”
“When I visited RVDK’s workshop I kept finding little treasures. Ronald [van der
Kemp] made this red bandana lined on the back with black silk and let me keep it –
it’s amazing! What they’re doing is incredible. My dress from the Golden Globes was
made entirely of discarded fabrics, and they only work with existing materials for All brands featured are rated ‘Great’, ‘Good’ or ‘It’s a start’ by Good On You.
all their collections.” Go to goodonyou.eco or download the Good On You app for more.

100 MARCH 2018

SPR I NG/SU M M ER 2018 S T. C O L L I N S C H A D S T O N E C H A T S W O O D C H A S E
PAC I F I C FA I R S E L E C T E D DAV I D J O N E S S T O R E S
Emma’s edit.
VOGUE V IEW POINT

Lorde at the 2018 Grammy Awards,

wearing a Valentino dress into which
an excerpt of artist Jenny Holzer’s
Inflammable Essays was stitched.

THIS CHANGES EVERYTHING

1700S 1851 1867 1900 1908 1914 1930S
The roller spinning machine American Singer opens The International Suffragettes Vogue Pattern Book New York’s Garment
is invented in 1738. The inventor his first Ladies’ Garment march en masse Company is formed. Two District, around 7th
water driven spinning frame Isaac international Workers’ Union in London’s Hyde years later, Vogue patterns Avenue, from 30th to
(1770) brings the process Merritt factory, in is founded in Park demanding sell in department stores, 42nd Streets, has the
out of homes into factories Singer Glasgow, chosen the US, with votes for women. encouraging fashion fans to highest concentration
at scale, while the power patents his for its cheap predominantly Green, white and make chic clothes at home. of clothing
loom (1785) industrialises first sewing labour and female purple trend in But the ready made manufacturers
the weaving of cloth. machine. plentiful iron. membership. the UK. revolution is on its way … in the world.

102
T
hey all wore black. Emma Watson, who brought Marai Larasi,
the anti-violence-against-women campaigner; Susan Sarandon
and social justice warrior Rosa Clemente; Michelle Williams
with Tarana Burke, who founded Me Too a decade before it became a
hashtag; Meryl Streep, Amy Poehler and Laura Dern with their union
leader plus-ones Ai-jen Poo, Saru Jayaraman and Mónica Ramírez. On
the 2018 Golden Globes red carpet almost every guest embraced the
dress code proposed by Time’s Up.
“This is a moment of solidarity, not a fashion moment,” Eva Longoria
(a founding member of the campaign, who paired up with another,
Reese Witherspoon, for the evening) told the New York Times. But using
dress as a symbol, specifically, the ideas associated with donning black
for an event that ordinarily rewards sartorial flamboyance, was one of
fashion significance. Women in Hollywood expect to be quizzed about
their outfits, so far from being the silent protest some dismissed it as in
the run-up, wearing black to the Globes was an entry
point for a conversation about why.
Time’s Up challenges the culture of workplace sexual
assault, harassment and discrimination everywhere.
Under its aegis, more than 300 women who work in film,
TV and theatre (including actors, agents, producers and
lawyers) collectively launched a legal defence fund for
women working in any field – “from film sets to farm
fields to board rooms alike” – who’ve experienced it. The
black dresses were a true fashion statement, a sartorial
message that read: this will no longer be tolerated.
Sexual violence is a power issue, often exacerbated by
economic injustice. To be a feminist today is to
understand how issues are linked, how worlds
intertwine and affect one another. Fashion, for example, is a feminist
issue not simply because it’s mostly women who wear it, and women
who can be constrained or liberated by it, but because it’s overwhelmingly
women who sew it too, many earning poverty wages in the global south.
“One of the biggest criticisms against feminism has been that it’s not
inclusive enough, that it’s aimed only at a narrow class of women,”
comments Dr Amanda Foreman, the British author and historian
behind the documentary series The Ascent of Woman. “What’s exciting
about Time’s Up is that it’s very deliberately designed to include low-
income women as well as middle-class women and celebrities. We talk
about intersectionality endlessly, but it’s rarely followed up with any
workable plan to deal with it.”
While she’s no fan of red carpet culture – “‘it’s a Hollywood version of
Crufts, frankly”, referring to the English dog competition – she agrees
that the dress code got people talking, and reminds us that it’s worked
before. “In the 18th-century court of George III, for example, if you were
1947 1960S 1970S
Women, after Boutique culture takes Couturiers
wearing pants and off in London, and take Yves Saint
shorter skirts during demand for affordable Laurent’s lead
World War II, protest clothes with short lives and dive into
fashion’s return to spreads among groovy prêt à porter,
traditional hemlines kids. In Australia, the mostly via small
on the streets of Paris first trendy young scale local
and New York. fashion brands emerge. manufacturing.
a Tory supporter, you wore blue and orange; if you were Whig, you
wore blue and buff [pale brown]. People have long used fashion as a
way of stating their political aims and their solidarity with ideals.”
The British suffragettes knew the power of style. In the early 1900s,
when their opponents insinuated that they were only protesting because
they couldn’t get a man to look at them (pathetic tactics that have
persisted to this day), many took Emmeline Pankhurst’s advice. She, who
founded the militant Women’s Social and Political Union with her
daughters Christabel and Sylvia, said: “Suffragettes should not be
dowdy!” Pankhurst recommended shopping at Selfridges, but supporters
were also encouraged to make their own snazzy outfits and to don pins
and banners in the movement’s colours: purple, white and green.
Predating the suffragettes by five decades, Amelia Bloomer and her
friends were campaigning for ‘women’s dress reform’ in America. “Let
men be compelled to wear our dress for a while and we should soon
hear them advocating a change,” said Bloomer, who lent
her name to a style of cuffed pantaloons. Bloomer wore
“PEOPLE HAVE hers to ride her bike.
LONG USED
Soon bifurcated skirts would be adopted by active
women who refused to remain grounded. But it was
FASHION AS A women’s tailored trousers, when they finally strode into
WAY OF STATING fashion in the 1930s and 40s, that really shook up the old
THEIR
binary dress norms. Pants stood for “freedom and
freedom of movement”, says Foreman, “which
SOLIDARITY represents one of the fundamental changes to women’s
WITH IDEALS” lives in the 20th century”.
The next great wardrobe revolution came with the
1960s mini-skirt, described by Mary Quant as “a way of
rebelling”. It came to be seen as a symbol of the liberated
woman, coinciding as it did with access to the contraceptive pill (first
introduced in Australia in 1961).
Australian feminist icon Anne Summers agrees that sartorial symbols
can indeed be powerful. Last year, after the Women’s Marches, she
proclaimed the pink knitted pussy hat to be “as potent an international
symbol of protest and resistance” as Che Guevara T-shirts, “or the early
emblem of the women’s liberation movement: the clenched fist inside
the symbol for women”.
Today, fashion is one of the ways we can put our values to practical
work, by shopping according to our ethics and supporting fair trade,
sustainable production, slow fashion and the artisanal.
For thousands of years, women’s silence has been encouraged or
enforced, to varying degrees, all over the world, whether by unspeakable
violence, intimidation or some silly guff about ‘the fairer sex’ being too
delicate to … well, take your pick: vote, own property, decide her own
fate, run for office, fight wars, go to university. ¤
1980S 1990S 2000S
The likes of Calvin As international trade barriers come Cheap and easy off shore
Klein and Pierre down, higher wages in advanced economies production spurs the rise of fast
Cardin kick start and demand for cheaper gear starts the fashion, based on cheap labour
the craze for race offshore. Australian production also in the global south. Seasons
licensing that sees heads overseas. The anti sweatshop speed up. China becomes
supply chains movement rises as exploitation is the workshop of the world.
grow increasingly exposed in factories making goods for Between 2000 and 2014 global
complex. global brands such as Nike and Gap. clothing production doubles.
M A R C H 2018 103
Emma’s edit.
VOGUE V IEW POINT
In The Ascent of Woman, Foreman describes how the first known
example of a culture trying to silence women is found in the carved law
stones of the ancient Sumerians of Mesopotamia, which date from
around 2,350 BC. They decree that a woman who spoke out of turn may
be punished by having her teeth smashed in with a brick.
When you cannot speak, or no-one is listening, your clothing might
tell your story. Take, for example, Argentina under military rule in the
1970s, when thousands of dissenters were ‘disappeared’, and the Mothers
of the Plaza de Mayo embroidered white headscarves with the names of
their missing sons and daughters and wore them to march. Or in
December last year, when an Iranian woman at anti-government protest
in Tehran was caught on camera waving her white hijab like a protest
flag on the end a stick, her uncovered hair blowing free.
The fashion industry is home to many female forces of nature with
much to say about justice. Vivienne Westwood shouts loudly about
climate change. Stella McCartney uses her brand not just to sell super-
cool clothes, but as a platform to start conversations about sustainability.
Maria Grazia Chiuri stamped her debut collection as Dior’s first ever
female design boss with feminist slogans, printing the Nigerian writer
Chimamanda Adichie’s rallying words on T-shirts: “We should all be
feminists.” I could go on. There are many examples of women using
their fashion powers for good.
But the women who design and wear our clothes tell only half the story.
The other half belongs to the women who produce them. Sewing has
provided millions of women with a pathway for economic empowerment,
but it doesn’t always work that way. In 1911, a fire at the Triangle factory
in Manhattan killed 146 garment workers, mostly teenaged girls who’d
been making ‘shirtwaist’ blouses. More than a century later, in April
2013, it was more of the same when the Rana Plaza garment factory
complex in Dhaka, Bangladesh, collapsed, killing more than 1,130 people.
Today about 80 per cent of garment workers globally are women, most
aged between 18 and 35. Most have children and aren’t paid nearly
enough. While China remains the largest fashion manufacturing
nation, the second is Bangladesh, where cheap apparel manufacture is
concentrated. There, according to Oxfam, women like Bangladeshi
mother of two Anju get paid just 37 cents an hour to make clothes that
are sold on the Australian high street. Time’s up on that too, I’d say.
There is no easy answer, and of course to talk of ‘fashion’ as a defined
whole makes no sense. Some clothes are impeccably and ethically
made, others unethically and unsustainably. Fashion’s story is as varied,
complex and multi-layered as women’s lives are. But we must start the
conversation, we must begin the work. And, of course, we should all be
feminists – but to do that we must acknowledge our privilege and
address the inequalities that marginalise millions of women. ■ herself, Yang’s is a bold voice for change.
2010S 2013 2014
Bangladesh On April 24, the Police open
becomes the second Rana Plaza garment fire on striking
largest garment- factory collapses in Cambodian
producing nation, an outer suburb of garment
with some 3.6 million Dhaka, Bangladesh. workers near
garment workers. It’s the deadliest Phnom Penh.
By 2016, the third factory disaster First Fashion
biggest is Vietnam. in history. Revolution day.
104
A FEMINIST HISTORY OF FASHION – WHO’S WHO
ROSE SCHNEIDERMAN
As a teen in the 1890s, Schneiderman worked in a Manhattan
cap-making factory, where she soon began to organise her
co-workers. She spent 24 years as president of the US
national Women’s Trade Union League.
FRANCES PERKINS
The first female US cabinet member, Perkins was
Franklin D. Roosevelt’s labour secretary and a chief architect of his
laws protecting worker rights. Previously, in a role at the New York
City Consumers League, she’d pushed for laws to limit women’s and
children’s work hours. A first-hand witness to the 1911 Manhattan
Triangle fire (she was having tea nearby when it happened), she
later said that was “the day the New Deal was born”.
SARAH ZIFF
Ziff founded the Model Alliance in 2012, and is a tireless campaigner
for fair working conditions for models. She’s kept the pressure on
the fashion industry to develop stricter codes of practice to protect
models at work, and successfully lobbied to extend laws protecting
underage performers to the modelling world.
KALPONA AKTER
Akter heads up the Bangladesh Centre for Worker Solidarity. A
feminist and passionate human rights campaigner, she is a former
child labourer who began working in a garment factory at age 12.
She was still a teenager when she was fired for standing up for her
rights, and those of her colleagues. After the Rana Plaza disaster
in April 2013, Akter led calls for brands to take responsibility.
ORSOLA DE CASTRO AND CARRY SOMERS
These London-based designers unleashed Fashion Revolution in
2014 on the first anniversary of Rana Plaza. Since then it’s become
a global movement pushing for a more transparent, fairer fashion
industry. The campaign encourages consumers to think of
themselves as part of the fashion supply chain, be curious
and to ask: “Who made my clothes?”
SOPHORN YANG
The president of the Cambodian Alliance of Trade Unions speaks
out for her country’s approximately 700,000 garment workers, 85
per cent of whom are women. Almost all are internal immigrants.
Disconnected from their families, they’re more vulnerable to
exploitation, often live in crowded, factory-run dormitories and
work long hours for very low wages. A former garment worker
2017 2018
On January 21, the Women’s March The Time’s Up Legal
movement sees more than five million people Defense Fund is launched
globally take to the streets as “those who in the US to subsidise
believe in a world that is equitable, tolerant, legal support for those
just and safe for all, one in which the human who have experienced
rights and dignity of each person is protected sexual harassment,
and our planet is safe from destruction”, in assault or abuse in
the words of the US organisers. the workplace.
MARCH 2018
Emma’s edit.
VOGUE V IEW POINT
Craft work
United in purpose, designer Kit Willow Podgornik and
Eco-Age founder Livia Firth discuss the future they are
helping to shape. Interviewed by Alice Birrell.
ST YLING K ATE DARVI LL
PHOTOG R APH D U N CAN KI LLI CK
O
n different sides of the world, Kit Willow Podgornik, founder
of label KitX, and Livia Firth, founder of consultancy Eco-
Age, were working for the same cause. It wasn’t until Vogue’s
guest editor Emma Watson wore Willow’s creation, the label introduced
to her by the sustainability-conscious Firth, that they were first brought
together via sequins and velvet. Now a new project spearheaded by
Firth reunites them again. The Commonwealth Fashion Exchange
brings together designers from 52 Commonwealth nations and pairs
them with artisans around the world, with the resulting eveningwear
gown to be shown at Buckingham Palace this month. Here, Willow
Podgornik and Firth reunite to talk to Vogue about their path to doing
better for our planet, and a bright fashion future.
VOGUE: Do you remember when you first came across each other and
became aware of each other’s work?
LF: “We worked with Kit for the first time with Emma Watson on a
stunning dress that Kit made and you did it with artisans, right?”
KWP: “That’s right. It was the sequin dress that was done in Kolkata by
artisans. Those actual plastic sequins were made from up-cycled PET
bottles. And so Livia, I love, love the work that you do and I came across
you first when I was researching KitX.”
LF: “Well, for the work that I do, I need designers to follow and do the
work, so it’s great to have people like you. It’s so inspiring to see the way
that you create. Some of the clearest progress in shifting the focus of
fashion to environmental and social justice has been made by working
directly with the designers who are so heavily invested in bringing
positive change for the industry.”
KWP: “That’s absolutely right, and empowering the women making the
garments and the artisans is great.”
LF: “I was looking at the pictures of the three artisans from the Solomon
Islands who helped you make the dress, and they’re all women from
mid-40s to mid-50s, two of them have primary education, one has none,
but when you look at their faces and you read about their lives and see
how they work you think: ‘My god, this is such a powerful collaboration’,
because usually these people are invisible. One of the main aims of the
whole Commonwealth Fashion Exchange is to properly unlock this
potential of the artisan trade, which has such a direct positive impact on
human empowerment …”
KWP: “We worked with two different artisan groups: one is beading,
which is actually their currency – the shells. There is $1,000 of currency
on the dress. This is how much they value the natural resource. There’s
so much love and effort and energy that goes into not only collecting
the shell but actually grinding it down and shaving it and putting the
love into the currency. How good is that?
“Then the raffia we used is bark from trees, which is stripped and
then softened using a coral from the sea which has an alkaline
substance, which reacts to the sun and it softens it.”
LF: “Oh, wow.”
106
KWP: “And all these women have hand-tied all the straw together, so it’s
gentle on nature, it’s using natural everything; there are no dyes, no
machines – it’s all done by hand and it’s wonderful.”
LF: “It is totally unlocking the world of artisan fashion and the many,
many opportunities and possibilities that designers have to use these
resources. Meanwhile, we go once a week to the high street and buy
polyester dresses and then we throw them away and we don’t think:
‘Who are the hands behind this?’ and: ‘What is this material?’ It is so
powerful to have a project that is worldwide, it is global, and it includes
so many forgotten communities and so many designers who have an
appetite to work in a different way … It is putting the heart back into
fashion and what fashion really is.”
VOGUE: What do you both think stands in the way of the industry
engaging in more storytelling and educating the consumer?
KWP: “As a designer, nothing. And this is what I’m loving about doing
this – the customer’s reaction and women really loving the storytelling.
It is almost like ‘show her something that she’s never dreamed of before
that she’ll fall in love with’, and by storytelling and communicating
about people hand-making these garments they can even feel it, looking
through clothes. You pick up a textile and it has a certain soul to it and
that hand-feel that passes on.”
LF: “On a more societal level, it is so complex and so disturbing what has
happened to us a society in the last 20, 30 years, through globalisation,
through mass consumerism, which has been fuelled by everything
being fast. At the same time, this insecurity you can call it, of millions
of women in the Western world who are put under so much pressure
to have to conform to a certain standard – what you look like, what
you’re wearing – you find that on one side you had an addiction to
consumption. We don’t realise how much we buy and how much we
consume and because we are used to thinking that that is democratic
fashion, that each one of us has a right to buy something so cheaply
without thinking about the repercussions that that purchase has on
women on whom it’s not democratic at all to produce it like that.”
KWP: “Someone is paying. The planet and people are paying.”
LF: “We unravel it by telling these stories, by doing projects like this, by
working with designers like you, Kit, reminding people that fashion
can empower you if you use it in a good way, because you’re wearing
beautiful stories and you have to be proud of that. There is so much
change with the renewed women’s movement, there is more and more
awareness of environmental and social impact of fashion, so things are
changing and it’s a really exciting moment.”
KWP: “It is, Livia! I feel like that, too. When I started KitX, sustainable
fashion was an ugly distasteful word. It was daggy. I thought I want to
break that and if you can create beautiful desirable fashion that looks
good and you want to wear it and love it and cherish it, but it also is
consciously sourced from sustainable materials.”
LF: “For me it is very, very simple and it is about the handprint of
fashion. To remember the stories behind what you are wearing and
I think that this project is the manifest of that.”
KWP: “I am always thinking you don’t want to bombard people with
statistics: you want to keep it simple. The big thing at the moment is that
they’re in the last generation now that their skills are still alive. In one
more generation it will be gone. It is a very crucial point, working with
artisans, which is why I love this project so much. The product is so
beautiful; it is not out of charity that we are working with artisans, it is
the magic and soul of this incredible creation.” ■
Emma’s edit.
VOGUE V IEW POINT
Let’s talk shop
As we enter the third decade of fast fashion, environmental journalist Lucy Siegle
assesses the real price of our destructive appetite for trends.
I
am sitting in an imperfect circle on swept ground observing six
women sorting dumped clothing, and it’s so much more fun than
I expected. Firstly there’s the skill of it. The recyclers can whip
through a clothing heap in minutes. They separate out strands of colour
and fibre, winding the trickier items like a glossy pair of tights around
their arm as they liberate the sleeves of a jumper from the ball. After
some frenetic pulling apart, the clothes appear as neat (and sometimes
folded) piles separated into colour and fibre. It’s not altogether clear
how they create order from chaos.
Panipat, located about 90 kilometres north of Delhi, is also known as
the cast-off capital of the world, a soubriquet taken from the daily influx
of preloved clothing that flows here from rich, developed countries.
I ask the translator to intervene: “Can the ladies slow down and look at
the garments?” He replies that the boss won’t like them slowing down
their work. Eventually he barks across to the women. Like someone
running fast, it takes a moment for them to wind the pace down. “Now
I’d like to know their impressions of these clothes.”
Their responses are unexpectedly uproarious. Bimala, at 16 the
youngest of the group, holds up a pair of bejewelled briefs. As the
rhinestones glint in the sunlight she
proffers them to her colleagues who fall
about helpless with laughter. Eventually
the translator informs me with
Six tonnes
exaggerated seriousness: “They say: ‘Why of textiles
would people wear such highly decorated (mostly
garments under their clothes?” Next
Bimala extrudes a glossy stocking from
clothing) is
the pile with great fanfare – cue more effectively
laughing. A pair of skinny jeans with dumped into
diamanté detailing has Bimala doubled
over with mirth, and so it goes on.
landfill every
But there’s a pause as Bimala holds a 10 minutes
white blouse in her hands and examines
a tide line caused by foundation make-
up. She frowns. “She says: ‘I think these people have no water, they
cannot wash their clothes,’” reports the translator. To these women on
the margins, whipping through our cast-off clothing, there is simply no
other explanation.
I feel the colour rising in my cheeks in embarrassment, on behalf of
the Western consumer.
We’re now entering our third decade of fast fashion, an accelerated
system of clothing production that promises a quick turnaround of
trends at low prices and is reliant on a supply chain that snakes through
some of the lowest wage economies on Earth. Many of us have never
known any other model of production, or way of getting dressed.
More than 10 years ago, I began tracking this phenomenon, intrigued
as it began to pick up even greater speed. I travelled to the hot spots of
textile production, responsible for most of the contents of our wardrobes,
namely Dhaka in Bangladesh. I followed the waste too, including my
visit to northern India. I interrogated the environmental footprint (the
amount of natural resources that went into system and the likely
108
negative output in terms of waste and pollution). I discovered that
major brands were not altogether sure where their inventory was
coming from, so I prodded and poked away. In my 2011 book, To Die For:
Is Fashion Wearing Out the World?, I estimated that around 80 billion new
garments are produced freshly (that is from virgin materials) each year.
That figure now looks conservative.
At times I felt like Alice falling through a rabbit hole. I discovered that
the demand on natural capital from our collective fashion habit is
nothing short of spectacular. Producing a single pair of jeans can take
more than 10,000 litres of water, one fifth of a person’s entire personal
water consumption in a lifetime. And if we’re not clad in cotton, we are
usually to be found in a form of polyester. According to the World
Resources Institute, world polyester production releases greenhouse
gas emissions equivalent to 185 coal-fired power plants every year.
The demands on human capital are just as extensive. When the Rana
Plaza factory complex collapsed in 2013 in Dhaka, the capital of Bangladesh
and an engine of production for fast fashion brands supplying Western
markets, 1133 garment workers were killed. Many people could simply
not compute that an industry lavishly associated with glamour was one
that had caused the world’s biggest ever industrial-scale ‘accident’.
But even loss of life on that scale could not slow down production, or
apparently consumption. In Australia, fast fashion has taken a particularly
firm grip. Australians now carry the ignominious title of being the second
biggest per capita consumers of new clothing and other textiles in the
world (just falling behind US consumers). Each gets through an average of
27 kilograms of fashion and textiles every year. Retail analysis from 2017
showed 1.7 million Australians bought at least one pair of jeans every four
months. Unsurprisingly, this adds up to a ferocious waste habit: six tonnes
of textiles (mostly clothing) is dumped into landfill every 10 minutes.
For every action there’s an equal and opposite reaction. If not the
equal to fast fashion in terms of popularity, over the last two decades
sustainable fashion has evolved as the key oppositional fashion force.
Next month in London, when the Victoria and Albert museum unveils
the major new exhibition Fashioned from Nature, it will pay tribute to
sustainable fashion, showing seminal pieces that mark the transition
from trend to movement.
But what exactly does sustainable mean? There is no agreed or legal
definition. There’s also a surfeit of names and badges: ethical fashion,
slow, zero waste, organic, fair trade are all terms that can be applied to
apparel that lets the planet set the limits and produces decent livelihoods
for workers throughout the supply chain (mainly young women).
In truth, this movement has not always hit the high notes. A plethora
of tie-dye drawstring trousers and rainbow motifs (on everything)
typified the do-gooder garments of the 1980s. Besides, as consumers we
were confused. When the European-based chain store C&A attempted
to introduce organic cotton to its rails shoppers were puzzled: ‘Can you
eat these T-shirts?’, some were heard to ask.
It was left to Katharine Hamnett, the queen of the 1980s block-print
slogan T-shirt such as ‘Choose Life’, to work it out. Horrified by the
number of deaths in the cotton supply chain for clothing from pesticide
poisonings, especially in rural Indian communities, she raised the
alarm on toxic chemicals and spent 10 years developing her own
uncompromising clean cotton supply chain to be used in future
collections. But crucially, she also questioned eco design cliches.
“I started out asking why organic and ethical should mean disgusting
porridge-coloured fabrics,” she said. The design world got the message.
The landscape of sustainable brands that prioritise a high aesthetic with
their ethics is developing fast. Crucially, it offers a range of fashion that
has found a way to disrupt the status quo. I have a weakness for sustainable
labels that design out waste from the start, using zero waste pattern cutting
and overstock fabrics (destined for landfill). This is a challenge to the fact
that three to five per cent of every factory’s inventory becomes waste.
I am also passionate about the artisan fashion trades. While most of
the pieces in our wardrobes are assembled in factory set-ups, behind
the scenes an estimated 60 per cent of global fashion is made by
homeworkers in the informal trades, and hand-worked. When a brand
moves to tell the story of artisan producers, many of whom work with
traditional crafts and skills, then I’m likely to fall in love with a piece,
like jackets made from woven ikat, a process used in southern India,
and the DFYNorm platform (a fashion brand based on fairness and to
workers and the planet.) It is impossible to mass-produce ikat woven fabric,
as no two garments are exactly the same, and to me, that’s the appeal.
Similarly I fell for Birdsong London, an e-commerce platform run
entirely to advantage women producers and gender empowerment.
Women who make Birdsong products are paid a living wage. Between 30
to 50 per cent of the sale price goes to the makers. This is unusual. The
average garment worker receives just 0.6 per cent from a T-shirt.
The truth is that sustainable fashion is rarely an analogue of
mainstream, just a version made in a ‘good’ factory from organic cotton.
It’s an entirely different method of production and intent.
On my desk I have a framed black and white picture by the seminal
female fashion photographer Lillian Bassman of a woman looking out
of the window of the train, titled, More Fashion Mileage Per Dress. That
pretty much sums up my approach to fashion consumption these days.
I buy little and often and prioritise fair trade and organic cotton basics
and ethical labels despite the higher price – justified by working out the
price per wear. Should I find a great quality vintage piece in my size I’ll
buy it as long as it’s in a natural fibre. I wear my clothes year in year out,
but I wear them hard.
My friend jokes that shopping for clothes with me reminds her of the
way her Neapolitan Nonna used to buy fruit at the market. She would
prod and poke and sniff peaches and melons in the same way that
I interrogate the fibre, the seams, the labels. I bought an old microscope
for home, and have been known to spend time looking at fibres until the
small hours. It’s incredible how much plastic fibre is in cheap cashmere.
If my strategy for getting dressed sounds pricey, elitist, bananas,
I understand. I can only tell you that this is a very personal choice.
Many struggle to break away from fast fashion. The big brands offer
familiar territory where we feel at home (as Dorothy said, there’s no place
like home) and a sense of security. Many will argue it’s all they can afford.
And this may well be the strangest thing I’ll say in this piece but here
goes: I understand if you buy from mainstream brands for these
reasons. All I ask that is that you buy fast fashion for slow reasons: to
keep in your wardrobe for as long as possible and commit to wearing
until it’s fit for dusters. But, above all, avoid their green and ethical
collection. Yes, really. I implore you not to buy in.
From recycling schemes that promise to turn old garments into new,
to extravagant company sustainability reports, bankrolling
conferences and pilot schemes on workers rights and collections
fashioned from sustainable materials, the biggest of the fast fashion
brands are keen to show us that they are not just cleaning up, but
leading the charge. But behind the scenes the business model remains
intact, predicated on producing ever-increasing volumes at lower
prices and faster speeds. Meanwhile, fast fashion brands set their own
timetable for reform and their own goals to reach. I’m not the first to
make this observation, but the global fashion industry is being
allowed to mark its own homework.
The highly rated design activist and UK academic Professor Kate
Fletcher has had enough of this type of obfuscation. She recently called
for profound change in the fashion system, which she labels “the
agenda of our times”.
“It is nothing short of profound
I buy little systems-level stuff; a new framework
and often of concepts, results, and procedures in
which all subsequent fashion work will
and prioritise be structured. It is built on a new set of
fair trade values. It describes new purpose, new
and organic ways of distributing power and benefit,
new economic models, a changing
cotton basics fashion culture, fewer pieces …”
and ethical It is tempting to play the blame game.
labels And today’s hyper-responsive
consumers, especially YouTube
‘shopping haulers’, as they proffer their
latest spoils to camera, are typically in the frame. But that is unfair. In
reality the seeds of fast fashion were sown as far back as the 18th century,
with the invention of the Spinning Jenny, a machine that sped up cotton
yarn production and enabled the first ready-to-wear garments. By the
1840s, the well-heeled were writing angst-ridden letters to newspapers,
bemoaning the way their feckless housemaids spent meagre wages on
multiple new dresses. (Inevitably, a weakness of character among lower-
class women was blamed for such excess – seen as unvirtuous – and
foolishness.) In truth, each generation just responds to the triggers and
opportunities to consume that the industry presents it with.
This may suggest that we’re doomed. If a destructive pattern
of behaviour was inculcated so long ago, surely we have no chance of
changing? But being a consumer should not define us. In fact, we are
active global citizens with far more agency that we recognise. And it’s
when we collaborate that profound change can really take off.
Three years ago, a group of more than 800 Dutch citizens began the
process of suing their own government on the grounds that it had
knowingly contributed to a breach of the two degrees Celsius maximum
target for global warming. Finally the courts ruled in their favour,
ordering the Dutch government to take action to cut greenhouse gas
emissions by a quarter within five years. This was the first time in history
that a court had ordered a state to protect its citizens from climate change.
It was a stunning victory, described as “remarkable” and as having
“broken through a political and psychological threshold” by
environmental lawyer James Thornton. But notable to me is the fact that
this was a breakthrough that did not require anybody to buy different
socks, or from an ethical capsule collection or to read through endless
reports to try and work out which brand was less bad. No, this victory
rested on active citizens coming together as activists (not consumers!)
to give change an almighty shove. Now, wouldn’t that be amazing
if one day we could do that on behalf of fashion? ■
M A R C H 2018 109
VOGUE V IEW POINT

S U STA I N A B I L I T Y

ART DIREC TION D IJANA MAD D I SO N

PHOTOG R APH EDWAR D U R RUTIA
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118
VOGUE V IEW POINT

MARCH 2018
E D WA R D U R R U T A
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
VOGUE V IEW POINT

SNAPSHOT

Violet femmes
ST YLING K ATE DARVI LL
PHOTOG R APH D U N CAN KI LLI CK

R
eady to breathe a sigh of relief? The wave of
millennial pink has let up and ushering
herself into the room in a purple haze is a
lady in lilac. The spring/summer ’18 front rows
buzzed as she walked by: it’s a shade that makes so
much sense. Punchier than the prettily pink
predecessor, and delicate but no longer soft. Where
to aim exactly though, on the spectrum? Somewhere
between Pantone’s colour of the year 2018 – ultra
violet – and a washed-out version of Parma violets.
Perkier than subdued mauve, less powdery than
periwinkle and not bound by gender tenets. It is for
the feminine with force, and it goes around the
clock, like you. Alice Birrell

Left: Bottega Veneta jacket, $13,710. Jan Logan earrings,

$420. Hermès watch, $19,520. Cartier bracelet and ring,
both P.O.A. Tiffany & Co. ring, $3,150. Chanel bag, $3,560,
from the Chanel boutiques. Centre: Salvatore Ferragamo
dress, $2,890. Bulgari necklace, P.O.A., and earrings,
$38,900. On right hand: Tiffany & Co. rings, $2,050 and
$1,100. On left hand: Georg Jensen rings, $795 and $9,655.
Right: MaxMara jacket, $2,310. Nerida Winter headpiece,
$335. Chanel earrings, $2,730, and bracelet (on right arm),
$1,390, from the Chanel boutiques. On left arm: Pandora
bracelets, $228 and $69 each, with charms, $69 each. On left
hand: Pandora rings, $59 each. Samantha Wills ring, $149.

120
 EL
AG

MARCH 2018 121

VOGUE V IEW POINT

Inner circle
A slew of labels are finding cut-through by having a heart.

ST YLING PE T TA CH UA
PHOTOG R APH JAKE TER R E Y

From left: Dôen dress, $400; H&M

Conscious Exclusive Collection dress,
$275; Reformation dress, $340.

122
 A
s a member of Gen Y, I’ve looked on as my generation has been called all
sorts of unfortunate descriptions: lazy, entitled, narcissistic, bad at maths
and problem-solving (phones do it for us!), civically disengaged, with too
much self-regard. But there’s a softer, kinder portrait emerging, outside the scrutiny
of the mainstream, and it’s filtering through in an unlikely place: our wardrobes.
The dresses we’re wearing and the jackets we’re supposedly slouching under are
increasingly being made in places we can trace, from fabrics that are ethical and by
people who are properly paid. Ask that girl in the floral Dôen blouse, over repurposed
vintage Levi’s with a vintage bag – she knows, and her friends do, too.
Labels are calling it the ‘sustainable imperative’ and it means so much to millennial
women that they’re willing to pay for it above all else. Multiple studies say three
quarters of Gen Y will pay more for pieces from a brand committed to positive social
and environmental impact. But it is not limited to a single age group.
Everyone can feel the real symptoms of global warming; sweating or shivering in
our maillots and cashmere respectively. We’re all dismayed by world powers with
dishonest figureheads and turn to avenues outside of the establishment, drawn
instead to those being upfront. “People’s general trust in institutions and businesses
in the world is declining,” says Anna Gedda, head of sustainability at retail giant
H&M. “It becomes increasingly important for brands to be open about who they are.”
A large company, H&M speaks openly about shortcomings, and is recognising the
imperative to be a fast fashion outlet committed to reducing negative impacts.
“I think this is expected of brands today,” says Gedda, who foresees customers
turning away from companies that don’t demonstrate a bit of heart – like H&M’s
Conscious Exclusive Collection, an elevated offering made from only sustainable
materials. “They see the brands they engage with as a reflection of who they are and
what’s important to them as individuals.”
Smaller labels with a mission are finding an opportunity to connect with customers
you live your life in them. E-boutique Lisa Says Gah stocks
a range of labels that support sustainable practice and
women at the same time. “The site is one part e-commerce,
one part inspiration images, one part blog,” says founder
Lisa Bühler. “We focus on the incredible designers and
intelligent, creative women who inspire us … we make the
site feel more like a fun place to hang out, not just shop on.”
MaisonCléo, a small cult French label designed and sewn
by a mother-daughter duo, has charmed followers with its
old-world approach to clothing, and will poll followers on
Instagram Stories to ask if they should make a skirt in a
particular colour, or re-do a sell-out dress. “It often
happens that a simple question sent by a private message
ends in a chat. They can participate,” says co-founder
Marie Dewet. Similarly, insiders’ jewellery label Alighieri,
which uses recycled bronze, has built cache through slower
production values. Designer Rosh Mahtani encourages
clients to share the stories of their pieces she wants to be
kept forever. “I want people to connect with each other
through these objects,” Mahtani says.
In the end, getting to know the real people behind the
labels is more appealing than buying blindly from a
faceless corporation. A spirit of collaboration and peer
support is prevailing and a feelgood factor of buying to
have a positive impact is sustaining countless brands. It
adds up to, at least in this Gen Y-er’s mind, a soulful,
sustainable, and far from selfish future. ■

who share their core values, more often than not on social media. “Consumers are
more empowered with information than they’ve ever been before, and can choose
for themselves what they want to buy,” says Yael Aflalo, the founder of LA label
Reformation, who knows customers expect transparency – demanding information
at any time on Instagram, Twitter or Facebook. The label aims to be carbon neutral
and has created a ‘ref scale’ to show the environmental impact of each garment that
they make from deadstock fabric and talk openly to their customers. One will share
an image of Nita Talbot in 1951 asking if they can make an updated take on her
blouse, or request plus and petite sizes, “rightly so”, says Aflalo.
A building of a genuine community who talk back has boosted labels like
Re/Done, which makes jeans from old Levi’s. “We think there is a huge difference
between brands that have fans and brands that have community. A fan might like a
specific piece you make or a collection, but a community wants to be part of your
world,” says Re/Done co-founder Sean Barron. Re/Done followers tag each other in
photos, sharing what a fit of a jean feels like and how comfortable or not it is to sit in.
It also means brands are multifaceted; it’s not just about the jeans you buy but the way

Alighieri
ring,
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

$318,
from
M O D E L S : A S T R D H O L L E R L LY N O VA Z H O E T R OT T E R

Harrolds. www. matches

WORDS: AL CE B RRELL ST LL L FE: GEORG NA EGAN

fashion.com.
H A R : S O P H E R O B E RT S M A K E- U P: P E T E R B E A R D

Dôen
sandals,
$269.

Vintage bag,
$115, from
Reformation dress, $270. The Mercantile.

M A R C H 2018 123
VOGUE V IEW POINT

STYLE SYLLABUS

ST YLING MAR I NA AFO N I NA

PHOTOG R APHS D U N CAN KI LLI CK

124
 T
he wardrobe has always had its nominated villains: the
unflattering sack dress, second-skin cling-film jersey and
unforgiving glossy silks and satins that have lingered in a
territory considered too tricky for anyone but the most style dextrous.
Paris Mitchell Temple and Georgia Cherrie, of New Zealand-based label
Paris Georgia, are two people who directly challenge the too-hard status
of the latter. “It’s fluid but structured,” says Cherrie of their pieces cast
in sinuous fabrics like supple double sateen sourced from Japan and
Italy. She pauses before re-emphasising: “Fluid but not flimsy!”
Addressing liquid fabrics this season means taking up the
propositions of designers including Sies Marjan, whose mint trousers
and top combination anchored by a blazer was the opposite of undone;
Roksanda, whose swirling tunic gown the colour of a blood-orange
granita was near monastic in its modesty; and fledgling Beaufille,
whose bruised violet dress was cut so expertly it could blend seamless
into any black-tie occasion.
To get it right this season it’s all in the weight, says Mitchell Temple,
who observes the perfect fabric can be cast into pieces not traditionally
associated with smooth fabrics – like coats and jackets. “You know
when you touch it. The weighting, the texture; you can feel it.” For the
friends and co-founders who have now created four seasons of all-New
Zealand-made modern wardrobe bedrock in clean-line slips, generously
cut palazzo trousers and jumpsuits and who are evolving the label to
include everyday tailored pieces, fabric is a design jumping-off point.
“We start with it and that drives the collection,” says Cherrie. “I think
now people can identify our brand by just looking at the fabrics.”
While they continue to develop their materials – they work with Albus Lumen dress, $690.
factories custom-making a fabric in a one-off colour just for them – it’s also Paris Georgia top, $255.

their own starting point for getting dressed in the morning. “Quite often
we have to spend the whole day in the showroom,” says Mitchell Temple,
who builds on loose pieces. “I would do it with a shirt over the top of slip
pieces … that can make it look also a bit more polished, rather than, well,
sometimes it can be quite sexy having a totally fluid dress.”
To tap into the newfound modern polish of louche materials and err on
the office-appropriate side, Cherrie says layering is key, introducing
different textures rather than wearing fluid fabrics on their own. “We’re
about to introduce a turtleneck that is really finely knitted. A fluid slip
dress with a chic turtleneck underneath is a nice way to keep it polished.”
Mitchell Temple experiments with trousers under dresses to keep it pulled
together. They agree, though, that minimalism is still right for evening.
“I think paring it back, simplifying the look and going with it as it is,
instead of over accessorising, is right,” says Mitchell Temple, who wears
a coloured clutch or neck scarf with hers, although both say they share
the habit of pairing a silken slip with statement earrings and a vintage
bag. “Just simple,” explains Mitchell Temple, who extends the ethos to
weekends, when a slip is matched with Céline sandals and “some good
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
H A R : TAY LO R J A M E S R E D M A N M A K E- U P: F LO M E N A N ATO L

sunglasses. No trims, no fuss.”

That simplicity stems from a need to walk into a busy life, polished
and ready, without the distraction of the wrong outfit, something both
Cherrie and Mitchell Temple learned from their mothers. “They owned
their own businesses and they woke up every morning and they took
pride in getting dressed,” says Cherrie, whose mother worked in
advertising while Mitchell Temple’s imported vintage into New
Zealand, a rarity in the 1990s. “They looked so beautiful every day, so
I think probably for us it was a big aspirational factor. From that you
think: ‘I want to be that woman.’”
From the beginning, their base in New Zealand has been an
environment that has nurtured their ambitions. After spending ¤
VOGUE V IEW POINT
Mitchell Temple (left) LET IT SLIP
wears a Christopher
Esber dress, $890.
Paris Georgia pants,
$392. Cherrie wears
Paris Georgia coat,
$725, and top, $259.
Michael Lo Sordo
pants, $650.

Manning
Cartell
top, $349.

Par Femme
dress, $180. Salvatore
Ferragamo
shoes, $1,290.

Hansen &
Gretel top,
$239.

time overseas post-university – Mitchell Temple in New York and Cherrie in Spain – they followed
the path laid out by their own mothers, striking out on their own with The Mercantile, a website
Tiffany & Co.
selling tightly edited vintage clothing. “Our whole families encouraged us and said: ‘Just do it,’” earrings,
remembers Mitchell Temple. “We were some of the only girls at our school who had mums who $2,750.
really provided and worked.”

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
Women remain a well of inspiration for the pair as they expand their reach with the introduction
of resort in 2018. “We’re feeling more inspired than ever with both our work and personal selves,”
says Mitchell Temple. “[Fashion now] celebrates the female form and its diversity. Style is now
driven by intelligence and freedom.” Which includes the brand’s sustainable focus – maintaining
close contact with their supply chain and manufacturing in New Zealand, something they talk
GEORG NA EGAN DUNCAN K LL CK

about more often these days. “It’s about everybody stepping up and using your voice.”
Their final directive on liquid fabrics is as easy to understand as their uncomplicated collections.
“For us as a brand, we are all about praising the female form, and for this sort of fabric you can
do that in such an elegant way. It falls off the curves so beautifully and hides the little bumps and Veronika
Maine coat,
highlights the right curves and that’s what we’re all about,” says Mitchell Temple. “A lot of our $389.
friends are all different shapes and sizes and they all look so beautiful, from the skinny girls to
the girls that are curvier, it suits them all.” No excuses not to slip into something looser then. ■

126 MARCH 2018

VOGUE V IEW POINT
Left: Carla Zampatti wears a Carla Zampatti jumpsuit, $1,149, from a selection at David Jones.
Her own sunglasses and necklace. Below: Carla Zampatti blazer, $869, jumpsuit, $969,
and scarf, $249. Georg Jensen neck ring, $1,375, pendant, $1,575, and rings, from $725.
Her own shoes. The Carla Zampatti label is accredited by Ethical Clothing Australia (ECA).

SINGULAR STYLE

Lasting appeal
Carla Zampatti has stuck to her style
instincts in creating timeless favourites that
bypass the fashion cycle and are cherished
for years even decades. By Zara Wong.
ST YLING PE T TA CH UA
PHOTOG R APHS D U N CAN KI LLI CK

“Sunny … I can still see it,” starts Carla Zampatti. She is recalling walking “I started my career at a time when women were evolving. The pill
into the dressmakers’ studio where her mother would have clothes made. had just launched and women were thinking about their own future,
It was the moment she first became aware of the world of fashion. “I guess, career and their own emancipation and I was part of that and really felt
as a designer, I have a visual memory,” she says with a knowing smile. it,” she says. Women entering the workforce in accelerating numbers

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
“It was filled with fabrics. There were three or four dressmakers there.” It required a professional, corporate-appropriate wardrobe. “I designed

sparked a sense of excitement in the then six-year-old Zampatti, who told
her mother she knew that was what she would do when she grew up.
Zampatti would go on to try making and designing her own clothes
based on Vogue patterns, experimenting with fashion to solidify her sense
of style in her late teens. “Experimentation is so necessary. Find a brand
that you think is you, try it on, look in the mirror – does it feel good? Yes.
Do you look good? Do you look better? I think you know, deep down.”
Now acutely aware of her tastes, Zampatti can list off quickly what suits
her. Separates – pants and tops. Jumpsuits – she has a collection of them.
Black and white – she found comfort in them in her late teens, an elegant,
dogmatically restrained palette that has become her personal signature.
H A R : P E T E L E N N O N M A K E- U P: N CO L E T H O M P S O N
for myself, too, in this sort of liberated way, but it also appealed to other
women who were going through the same experience.”
The focus on tailoring has made it necessary for Zampatti’s clothes to
be all made in Australia; her studio is filled with skilled pattern cutters
and tailors who have made her pieces renowned for their fit. Zampatti
is also an ambassador to The Social Outfit, which provides employment
and training in the fashion manufacturing and retail industry to people
from refugee and new migrant communities. “If you run a business,
you respect your suppliers and they will give you great service, which
will give you great product. People need to be paid properly. It’s
mutually beneficially to look after people who look after you.” ■

128 MARCH 2018

VOGUE V IEW POINT
TRENDS
A Crocs. That is the indelible hand of Balenciaga’s creative director Demna
backwards
glance
Everything old is new again
as the DNA of grand fashion
houses is tweaked to create
fresh looks for now. By Zara Wong.
ART DIREC TION D IJANA MAD D I SO N
PHOTOG R APH EDWAR D U R RUTIA
130
C
ristóbal Balenciaga’s original designs weren’t doused in fluoro
colours, nor did he emblazon fitted tops with his surname, let
alone think about sprinkling colourful trinkets across platform
Gvasalia, who is moulding the French fashion house more in his own
image as dual creative director of his label, Vetements. “After the past
few seasons, I could feel myself getting restrained by homages,” he
explained backstage at the Balenciaga spring/summer ’18 show.
Placing cool, young designers at the helm of established fashion
brands is an exhilarating narrative – think of the new and the old! The
to-the-minute and the traditional! – but an old-hat move. Alessandro
Michele was not the first to re-ignite Gucci; Tom Ford had done it over
20 years earlier when, like Gvasalia, he cast the new ready-to-wear line
of the Italian leathergoods brand in his own taste, with sultry hip-
skimming velvet pants, silken shirts unbuttoned. Then there’s Stella
McCartney and, later, Phoebe Philo for Chloé, and the revolving doors
of designers at Vionnet, Lanvin and others. The function of the new
creative director is to instigate change, to see the heritage through fresh
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VOGUE V IEW POINT

NEED IT NOW

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

ART DIREC TION D IJANA MAD D I SO N ST YLIST B E TH I E G I R MAI

PHOTOG R APH EDWAR D U R RUTIA
WORDS: AL CE B RRELL

138 MARCH 2018

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Emma’s edit.
VOGUE CU LTU R E

144

From left: Nakkiah Lui wears
an Ellery jacket, $1,795.
Vilshenko dress, $1,795, from
Parlour X. On right hand:
Tiffany & Co. rings (on ring
finger), $910, and $215.
Bulgari ring (on index finger),
$2,240. On left hand: Tiffany
& Co. ring, $1,250. Bally
H A I R : TAY LO R J A M E S R E D M A N M A K E- U P: P E T E R B E A R D
shoes, $725. Her own glasses,
necklaces and bracelet.
A L L P R I C E S A P P R OX I M AT E D E TA I L S L A S T PAG E S
Miranda Tapsell wears a Dion
Lee dress, $1,690. Balenciaga
pants, $880, from Harrolds.
Cartier earrings, $34,500.
Her own engagement ring.
Brooke Boney wears a Dior
jumpsuit, $3,400, skirt,
$3,700, and bra, $1,700.
Tiffany & Co. earrings, $2,150.
Apple watch, from $359, from
a selection at Harvey Norman.
Cartier ring, $7,150. Stuart
Weitzman shoes, $785.
Our place, our time
Radio broadcaster Brooke Boney leads a discussion with
fellow Indigenous women, actress Miranda Tapsell and
playwright Nakkiah Lui, about race and empowerment.
ST YLING PE T TA CH UA
PHOTOG R APH JAKE TER R E Y
O ur experiences have been defined by the struggles of modern
Australia. We’ve spent our entire lives negotiating the space
between our difficult past and a bearable future for our people.
We are three fair-skinned Aboriginal women, and as well as being your
average nuanced, ambitious, bubbly, creative, flawed human beings, we
are also the physical representation of this country’s difficult past.
And despite the limitless density of this cultural fact, its full scope
can sometimes be entirely captured in a single moment. A moment all
three of us have experienced: the very moment where it clicks in a
person’s mind that you’re Indigenous.
The surprise on people’s face gives it away. The surprise that, up until
now, they haven’t felt uncomfortable. And it’s this surprise that on
occasions can manifest itself into a very revealing phrase. A phrase
that’s as well-meaning as it is devastating. A phrase that Nakkiah Lui
and Miranda Tapsell have harnessed as the thought-provoking title of
their incredible podcast: “You’re pretty, for an Aboriginal.”
With this, regardless of intentions, people are saying that our
appearance is more palatable because we look more like their
grandparents than our grandparents.
With that one statement, suddenly (white people) as a group are pretty,
and you (Aboriginal people) are not. It isn’t deliberate, and it’s not helpful
to be rebuked for sins we’ve all committed, but for such an innocuous
statement it is certainly revealing of a much wider cultural phenomenon.
And that is that for so long in Australia, on the news, in the media, the
only representation of Indigenous people we’d see would border on
parody – reinforcing a stereotype of Aboriginals that belies the diversity
of First Nations people in 21st-century Australia.
Lui is one half of the podcast Pretty for an Aboriginal, and she told me
it’s part of the reason she became involved in the arts: “One of the
reasons I went into media was because I remember watching TV as a
kid and reading magazines and not seeing anyone who looked like me.
And that really affected my self-worth and my value. And that beauty
is beyond the superficial as well. It’s inspirational to be strong, smart,
forthright and staunch. And to have beliefs and values and I think those
things are a part of what makes people beautiful.”
Miranda Tapsell is the other half. She’s a Larrakia/Tiwi woman from
Darwin who will appear in the Sydney Theatre Company production
Black is the New White (written by Lui, who will also star in the show),
and is about to star in Top End Wedding, a romantic comedy set in the
Northern Territory, which also marks Tapsell’s screenwriting debut.
Tapsell says for a while after her breakthrough in The Sapphires she
struggled to find her place in a world where people on TV and
magazines didn’t look like her. “I thought: ‘Well, I’m not six foot, ¤
M A R C H 2018 145
Emma’s edit.
VOGUE CU LTU R E

I don’t have long legs, I’m not blonde-haired or blue-eyed, so what is it nl: “I think it’s also that stereotypes
that I can celebrate about myself?’ I think when people found I was
“When we are built on simplifications. The more
funny and that I could sing and that I could get up on stage without any realise that personal and complex stories and
shame and do it with conviction … I thought: ‘Okay, this is how I’m diversity voices we hear, the more that we break
going to empower myself, this is how I’m going to feel good about
myself, ’cause I’m going to show people I’m more than what people see
and cultural down stereotypes. I was very much
brought up in a family that was ‘you
in magazines. They’re not going to compare me to women that they inclusion isn’t respect your elders’ and I grew
see in magazines.’” a threat to up knowing my history. I grew up
Brooke Boney: “One of the things I’ve been thinking about is what
someone means when they say: ‘You’re too pretty to be an Aboriginal
the Australia knowing my culture and my family
and so my Aboriginality wasn’t a huge
person.’ That’s something that we’ve struggled with and carried with we know and deal in my life, it was just a thing that
us our whole lives, and I think there’s a shift and I don’t think it is just love but an I was and it wasn’t what my world
about inner strength I think it’s about recognising that there are
different kinds of beauty.”
integral part centred around, ’cause I doubt many
people’s lives centre around their
Nakkiah Lui: “I think it’s also because so often our Aboriginality is of it, the race, it’s just how their race effects
talked about as if it’s a detriment. It’s like anything that makes you tension will them. What’s been amazing for me is
different is a detriment. And I think the fact is in Australia, regardless
of the politics, I think it’s a more diverse community, I think the values of
dissipate” the fact that people want to hear
different voices. That people want to
people individually is about embracing things that are different. And so hear from us.”
ultimately there is going to be recognition of that.” BB: “One of the things I’ve been struggling with with the #MeToo
Miranda Tapsell: “I agree. The Brisbane Times had a story recently: movement and intersectional feminism is that we know Indigenous
Samantha Cooper, a Queensland Indigenous woman, was sacked two women are raped more often, are beaten more often. There’s the horrible
days after filing an official complaint. And one of the things that was example of Lynette Daley on the north coast of New South Wales, who
said to her was that she was quite pretty for an Aboriginal. Of course, was brutally murdered and it took years for the men involved to be
it’s a backhanded compliment, which is why we wanted to make it the charged. It’s difficult for me to feel like we’re equal to other women
title of the show, because we wanted to unpack some of that.” when our stories are left out.”
nl: “And it’s a really multi-faceted thing, but your difference is your nl: “I think in Australia, we’ve seen over the last couple of decades, that
strength. I think with the podcast, well, if you can see it then you can it’s a country capable of great change and thinking about other people
be it and that’s why having diverse representations is incredibly and having empathy and we’ve made some brilliant decisions in
important, but also you aren’t necessarily going to change people’s regards to immigration and things like same-sex marriage over the last
minds by spewing your ideology at them. It’s people empathising if couple of decades that have really given people the opportunity to have
someone is like them and they have similar feelings but for maybe a good life – it’s always for some, my addition is ‘for some’. Even though
different reasons. The specificity of someone’s personal experience and as a modern country in so many ways, we can be quite progressive and
their perspective is what makes it so universal. I think the great thing quite compassionate, I think there’s still a very institutionalised idea
about Pretty for an Aboriginal, and what Miranda does, and what I do, that Aboriginal people just aren’t worth as much.”
and what you [Brooke] do, is that you just talk about it. In a really BB: “When we have a moment in this country when we realise that
intimate and honest way and I think that does more than some type of diversity and cultural inclusion isn’t a threat to the Australia we know
government action plan.” and love but an integral part of it, the tension will dissipate. It’s
BB: “To tap into what you were saying before about how deeply it a difficult ask, because it means asking our fellow Australians to
affected your sense of self to not see any Aboriginal women, or men acknowledge that their good fortune has been built on the back of our
really besides someone like Ernie Dingo on TV or in the media, for me, misfortune, that regardless of whether or not they have caused it, they
to now be a part of this next generation where there’s a sort of are the direct beneficiaries of the most abhorrent of atrocities committed
renaissance of Indigenous culture in the mainstream is an incredible by their ancestors against ours.”
time. Little girls can now open up a magazine and see pictures of us, or nl: “I think when a country doesn’t acknowledge the violence and
they can turn on a TV and see you or they can turn on the radio and trauma that a lot of its hope is founded on, then that just lives on in a
hear me, and that’s an incredible thing.” community. There’s a lot of unpacking to do. So much with intersectional
mt: “If anything, I wanna see more of it! (Laughs.) I’m always of the feminism at the moment is very much about staying in your lane
opinion that we can do more. The space can be opened up more. I think because you want to be considerate of people, you want to see them
at the moment it is an exciting time, because there is possibility, so what have equality and feel like they’re treated fairly. So sometimes it does
I hope to see in the future is that it is normalised. That it’s just normal to feel like as an Aboriginal person you kind of have to put your
open up a magazine and flip the pages and see it. There’s all different Aboriginality to the side to support other women.”
girls from different cultures, from different backgrounds, of different mt: “We’re not here to say who’s got the worst thing ’cause that doesn’t
shapes to normalise that, so that it reflects the wider culture, so that it’s help anyone. I think there’s interesting discussions to be had around
the same as when you walk down the street. That’s what I would like to that and I think those kind of conversations will hopefully make things
see. Because I think it’s nice to explore that there isn’t just one standard more inclusive for everyone, if everyone can understand more of what’s
of beauty that is the epitome of beauty.” outside of their own experience.” ■

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VOGUE CU LTU R E

Wonder world
Tim Flannery is one of our most eminent scientists a climate
change expert, explorer and zoologist. He is the author of a
string of acclaimed books, including The Weather Makers,
and in 2013 co-founded Australia’s independent climate action
advocacy body, the Climate Council. Here, he talks to Vogue’s
sustainability editor-at-large Clare Press about the fight to
save the Great Barrier Reef. Artwork by Joshua Yeldham.

T
he Great Barrier Reef is the largest living thing on Earth. Visible
from outer space, it is an underwater garden of unsurpassed
natural beauty, home to more than 400 different types of coral
and 1,500 species of tropical fish. But climate change, which leads to
warmer waters and ocean acidification, is endangering the reef. Severe
bleaching events in 2016 and 2017 had devastating effects, while at the
time of writing, the proposed Carmichael coal mine north of the Galilee
Basin, Central Queensland, threatens it with more.
CLARE PRESS: “THE GREAT BARRIER REEF LOOMS LARGE IN OUR NATIONAL
PSYCHE. IT’S AN IMPORTANT TOURIST ATTRACTION, OF COURSE, SUPPORTING
ABOUT 10,000 JOBS, BUT IT ALSO HAS A MAGIC AND MYSTERY THAT GOES
BEYOND ECONOMICS.”
TIM FLANNERY: “It does. Seeing the reef for the first time is one of those
completely transformative experiences. For someone who hasn’t been
onto a tropical reef before, diving into the water and encountering up
close the colours and the diversity of life is profound. If you keep diving
the reef and trying to understand it, you see the most extraordinary,
complex ecological relationships play out.”
CP: “HOW BIG IS IT?”
TF: “It’s about the size of Germany and spreads over 2,400 kilometres
along the [Australia’s east] coast from Central Queensland to New
Guinea. It’s enormous.”
CP: “HOW MUCH REMAINS UNDISCOVERED? I MEAN, DO WE KNOW ABOUT ALL
THE CREATURES THAT LIVE ON THE REEF?”
TF: “Far from it. There are still new species being discovered, including
some extraordinary ones, gigantic single-celled bacteria for example; and
new species of fish, anemones, corals. Also, the Great Barrier Reef is one of
the last refuges for tropical marine mega fauna such as turtles, dugongs and
manta rays that have often been hunted out in other parts of the world.”
CP: “THIS SUMMER, I WAS PART OF A GROUP THAT THE CLIMATE COUNCIL TOOK
TO THE HERON ISLAND RESEARCH STATION ON THE REEF. APART FROM MODEL
AND MARINE BIOLOGIST LAURA WELLS, WE WERE A BUNCH OF NON-SCIENTISTS:
MUSICIANS, WRITERS, PHOTOGRAPHERS, A WINE-MAKER, FREE DIVER JULIA
WHEELER, THE ARTIST JOSHUA YELDHAM … WHY DID YOU TAKE US?”
TF: “Because we wanted people like you to see what’s happening close
up, and become advocates for the cause, and that’s why I’m so pleased
to do this interview. This isn’t just an issue for scientists or environmental
activists, or even just Australians; it’s an issue for everyone. The reef is
World Heritage listed, and it needs our help.”
CP: “YOU SHOWED US PHOTOGRAPHS OF THE REEF TAKEN BY NATURAL
HISTORIAN WILLIAM SAVILLE-KENT IN THE 1890S. CAN YOU TELL US HIS STORY?”
TF: “He had a very unfortunate early life: he seems to have been involved
in the murder of a family member [no charges were brought against
him]. His sister was convicted of murdering a half-sibling and the body
was disposed of in a latrine, and I think the event dogged Saville-Kent
his whole life. He became a cause célèbre – [Charles] Dickens wrote
a story [inspired by the family scandal].”
CP: “GOD, SOMEONE SHOULD MAKE A FILM ABOUT HIM!”
TF: “He came to Australia and took a job in Queensland, where he
photographed and documented the Great Barrier Reef. He was always
careful to keep a reference point in the background. You can go back to
that exact spot today and see how it’s changed. I don’t know of a single
instance where the reef has been preserved in its full glory as he saw it.”
CP: “HOW MUCH OF THAT IS DOWN TO US?”
TF: “There is no evidence of any natural causes of these changes; it’s all
human. In the 20th century we took the reef for granted. [Humans]
cleared its catchments, allowing sediment to flow into the lagoon. They
developed agriculture, which has resulted in massive fertiliser and
pesticide runoff. There’s been a lot of inappropriate fishing, there was
even a proposal during Bjelke-Petersen’s government to mine the reef;
just dig it up and sell it as fertiliser.”
CP: “GLOBAL WARMING IS TAKING ITS TOLL. HOW DO WARMER WATERS
DAMAGE THE REEF?”
TF: “Corals are vulnerable to temperature increases. They are very
strange organisms; they work with algae, called zooxanthellae, in a sort
of business partnership. Coral is made up of small polyps and inside are
millions of tiny algae. The algae give the coral its colour. If they leave,
the coral looks white, which is what we mean by bleaching. The polyp
provides shelter for the algae and the algae feed the polyps through
photosynthesis, but the efficiency with which the algae can create food
is temperature dependent. If temperatures elevate briefly, the polyp can
survive for a time, and when the water cools, let the algae back in. But if
the heat is extended for more than a month, the coral dies.”
CP: “THE BEAUTY OF OUR OCEANS, BEACHES, REEFS ARE BIG SELLING POINTS
FOR AUSTRALIAN FASHION AND STYLE. BUT IS THERE A DISCONNECT HERE AS
WE ARE TRASHING OUR NATURAL ENVIRONMENT AT UNPRECEDENTED LEVELS?”
TF: “I think that’s a fair comment. Although there is a lot being done by
some Australians to try to change things.”
CP: “BUT NOT ENOUGH? A RECENT CLIMATE COUNCIL REPORT NOTES: ‘AUSTRALIA
IS FAILING TO TACKLE CLIMATE CHANGE WITH EMISSIONS RISING AND A LACK OF
ANY COHERENT, NATIONAL APPROACH TO REDUCE EMISSIONS IN THE SHORT,
MEDIUM OR LONG TERM. WE’RE KNOWN AS A GLOBAL CLIMATE LAGGARD.’” ¤

148
Endurance (2017)
by Joshua Yeldham.

M A R C H 2018 149
Emma’s edit.
VOGUE CU LTU R E
TF: “When it comes to emissions and switching to renewable energy,
we’re not doing anywhere near enough. We are really the ‘wooden
spooners’, and it’s such a tragedy because we could be enjoying
affordable, stable, clean power and be well on the way to transitioning
to electrified transport and a much lighter industrial carbon footprint.”
CP: “HOW CAN WE DO THAT NOW?”
TF: “Honour the Paris Agreement [to keep global temperature rise by
the end of the century below two degrees Celsius above pre-industrial
levels]. We need to cut emissions as hard and fast as possible. Secondly,
we need to start developing the technologies that we will need in future
to draw CO2 out of the atmosphere.”
CP: “THE MORE I READ ABOUT SOME OF THE MORE SINISTER PROPOSED
SOLUTIONS, LIKE INJECTING SULPHUR ONTO THE STRATOSPHERE TO DIM THE
SUN, THE MORE WORRIED I GET. WHAT’S YOUR TAKE ON THAT?”
TF: “I’m not suggesting we go for any of those extreme geoengineering
ideas – I am very much against them – but I think we need to act to draw
CO2 out of the air by strengthening Earth’s own natural systems.”
CP: “SEAWEED! YOU JUST WROTE A BOOK ON THIS.”
TF: “Seaweed grows 30 to 60 times faster than land-based plants and
captures lots of carbon very quickly. If it gets into the deep ocean and
the carbon is sequestered, then that carbon is out of the system. We
know seaweed has potential but we have to develop the technology. I’m
hopeful that by 2050, seaweed will be a significant weapon in the fight
against climate change if we make the investment now.”
CP: “WE ALSO NEED TO SEPARATE THE CLIMATE CHANGE CONVERSATION FROM
PARTY POLITICS.”
TF: “Absolutely. There’s a problem with our political system; everything
becomes a tool to hit the opposition over the head with, and the national
interest is done away with. We as voters are the ones who can change
that. We have to decide the national interest is the primary objective. If
the political parties won’t do it, we have to find a new way of doing it.”
CP: “BUT WE DO KNOW THAT INCREASED GREENHOUSE GASES IN THE
ATMOSPHERE ARE CAUSING IN CLIMATE CHANGE, AND THAT HUMANS ARE
PUTTING THEM THERE, BELCHING THEM OUT OF OUR CARS, POWER STATIONS
AND FACTORIES. FASHION, FOR EXAMPLE, IS A MAJOR POLLUTER. GLOBAL
CLOTHING PRODUCTION DOUBLED BETWEEN 2000 AND 2015, AND ACCORDING
TO SOME PROJECTIONS, BY 2050 THE TEXTILES INDUSTRY WILL ACCOUNT FOR
MORE THAN A QUARTER OF GLOBAL EMISSIONS. WE ALSO KNOW THAT PARTS
PER MILLION OF C02 IN THE ATMOSPHERE ARE DIRECTLY RELATED TO GLOBAL
WARMING, AND THESE NUMBERS KEEP RISING; THEY ARE NOW AT THEIR
HIGHEST FOR 800,000 YEARS. AND YET SOME PEOPLE ARE STILL DENYING
CLIMATE CHANGE IS AN ACTUAL THING …”
TF: “Well, some people say the Earth is flat. We can’t let them sidetrack us.
We’ve known since 1859, when the first demonstration was made, that
CO2 captures heat. Yes, climate science is complex, but the fundamentals
are unassailable. It’s happening. We can see it all around us.”
CP: “EXTREME WEATHER IS TELLING US, HURRICANES, FIRES; SO WHY AREN’T
WE LISTENING AND ACTING?”
TF: “I think there are implications, when it comes, for example, to the loss
of the reef, that we perhaps don’t want to think about, because they are
very, very bad for a series of reasons, from erosion of the Queensland coast
through to the loss of major industries to what it means to be Australian.”
CP: “AND WE’RE SORT OF NOT ALLOWED TO GO THERE, RIGHT? BECAUSE IT’S
UN-AUSTRALIAN WHEN WE SHOULD BE TALKING UP OUR NATURAL WONDERS?”
TF: “Perhaps we don’t value enough the things that other people see in
Australia, that are reflected in our supposedly carefree outdoors lifestyle.
Yes, it’s a wonderful lifestyle, but if you’re outside in a sewer …”
150
“When you
dive into that
water over the
reef you are
immersing
yourself in
nature, you
have the
opportunity to
feel it, not just
to observe it”
CP: “THAT’S A BIT STRONG!”
TF: “Is it? Effectively, we’re creating a sewer for the Great Barrier Reef;
we’re creating water conditions that are full of contaminants.”
CP: “CAN CELEBRITY ACTIONS HELP RAISE AWARENESS? I’M THINKING ABOUT
THE ACTOR SIMON BAKER’S CAMPAIGN WITH THE AUSTRALIAN MARINE
CONSERVATION SOCIETY TO STOP ADANI’S CARMICHAEL COAL MINE.”
TF: “I think that sort of campaign can reach people. Spreading knowledge
and starting conversations is a powerful thing.”
CP: “WHAT CAN READERS DO? BECAUSE I THINK BEING OVERWHELMED CAN
LEAD TO INACTION, CAN’T IT? THE TOO-HARD BASKET …”
TF: “I do understand that, but I would say lead by example and be the
change. That’s powerful. Make this an issue for yourself.”
CP: “JOSHUA YELDHAM IS DOING HIS BIT BY ILLUSTRATING THIS STORY.
JOSHUA HAS A DEEP CONNECTION WITH NATURE THAT COMES THROUGH VERY
STRONGLY IN HIS PAINTINGS. DID YOU TWO DISCUSS THAT ON HERON ISLAND?”
TF: “We did. We talked about that connectivity, and how people now live
in urban environments where we’re cut off from it, and yet latent within
us is the ability to recognise it. When you dive into that water over the
reef you are immersing yourself in nature, you have the opportunity to
feel it, not just to observe it, but to understand it as a working system.”
CP: “MANY OF JOSH’S PICTURES FEATURE OWLS, RIVERS AND TREES. HE’S TALKED
ABOUT HIS WORK BEING ‘A PRAYER TO HIS ENVIRONMENT ON THE HAWKESBURY
RIVER’, AND ALSO ABOUT ‘THE POWER OF THE OLD KNOWLEDGE’ AND OUR
ANCIENT, INSTINCTIVE CONNECTION TO LAND. IT MAKES ME THINK THAT OUR
WEAKER CONNECTION IS TO BLAME FOR THE HAVOC WE WREAK ON NATURE.”
TF: “It’s an essential part of being human, that deep knowledge that we
are part of nature.”
CP: “WHEN DID YOU, PERSONALLY, REALISE THAT?”
TF: “I was one of that generation who grew up around the edge of a big
city – in my case Melbourne – at a time of very rapid population growth.
I loved the nature around my home, I built cubby houses, caught frogs
in the swamp, but all of that was gone by the time I was 10; the suburbs
have rolled through and destroyed it. I found my refuge in the ocean.
The reefs that were there then were beautiful temperate reefs with lots
of interesting species. I learned to scuba dive as a teenager in the early
70s and it was a paradise. But some of us tap into the refuge through
gardening, some of us through watching birds, or what we eat.”
CP: “IT’S THERE IN ALL OF US, SOMEWHERE, EVEN IF WE HAVE TO DIG A LITTLE
TO FIND IT.”
TF: “We cannot survive, much less lead our best life, without nature.” ■
MARCH 2018

RIVIERA REVERIE
Cocktail in hand, we salute the iconic
fashion trends shaped by France’s
lavish Mediterranean coast.
F
rom the beaches of Saint-Tropez to the red
carpets of Cannes, the French Riviera has
long been fertile terrain for glamour. In a
nod to the region’s eternal poise, Grey Goose is
commemorating its 20th anniversary with the
release of a limited-edition Riviera bottle. The
eye-catching blue and white label, decorated
with nautical stripes and Impressionist-like
brush strokes, pays homage to the brand’s
French heritage. The signature geese that fly
across the original design have been joined by
one large avian motif. The Riviera bottle has a
coastal beauty that seems tailor-made for
waterside soirees. And the ideal tipple to
accompany oceanic views is the Grey Goose Le
Grand Fizz; a blend of Grey Goose Vodka, St-
Germain Elderflower Liqueur, lime juice and
soda water. Sipping one immediately evokes
the yacht-filled marinas of Cannes.
Breton stripes
The origins of the striped Breton top — that
seductive wardrobe staple that remains
timeless — can be traced to 19th-century
seafarers in Brittany. But it was Coco Chanel,
in a seminal nautical-themed collection
from 1917, who made the utilitarian item
fashionable. It was a hit at seaside destinations
including Saint-Tropez and embraced by a
constellation of luminaries. Marilyn Monroe,
Jean Seberg, Audrey Hepburn and James
Dean are among those who have famously
worn one. The cotton shirt has also been
referenced by countless brands, including
Balmain, Gucci and Givenchy, while Jean Paul
Gaultier is perhaps its biggest fan.
VO GUE PROMOTION
The bikini
French designer Jacques Heim, the avid
proprietor of a beach-themed boutique in
Cannes, debuted a modest two-piece swimsuit
in 1946. But it was another Frenchman, engineer
Louis Réard, who whittled the design down to
its modern, minimalist proportions. Réard was
said to have been inspired by women on Saint-
Tropez beaches who rolled up their bathing suits
as they worked on their suntans. In 1953, when it
was still considered a risqué look, Brigitte Bardot
was photographed wearing a bikini on the beach
during the Cannes Film Festival.
Straw bags
Woven baskets and straw clutches are
synonymous with beach resort towns, but
especially those on the Côte d’Azur. At the
Cannes Film Festival, Jane Birkin once paired
her glittering cocktail dress with a wicker
basket. Later, Hermès would tap her to create a
luxe leather version. Basket bags are still having
a moment. Dolce & Gabbana, Charlotte Olympia
and Tory Burch have all offered recent takes,
while Philippines-based accessories brand
Aranaz is feted for its embellished versions. Not
only classic in style, they’re practical enough for
a trip to the beach or farmer’s market.
The limited-edition Grey Goose Riviera bottle
is available at Dan Murphy’s while stocks last.
Emma’s edit.
VOGUE CU LTU R E

Star G E R A L D E I C H S TÄ DT/ S E Á N D O R A N
N A S A /J P L- C A LT E C H / S W R I / M S S S /

attraction
Australian engineer Beth Jens spends her A colour-enhanced
image of a massive
days at NASA JPL working on technologies storm on Jupiter,
she hopes will not only help space exploration captured by NASA’s
Juno spacecraft in
but make this world a better place. October 2017.

152
T
he night sky in Australia is a beautiful sight. I grew up in
Torquay, on the coast of Victoria. Living in a small town has the
benefit of delivering spectacular views of the night sky. I have
so many memories of staring up at it throughout high school, pondering
the wonderful and terrible things occurring under that same set of stars.
My eyes would always seek out the Milky Way, following it from the
Southern Cross to Orion’s Belt. I would look up at those stars, dreaming
of becoming an astronaut and helping humankind to explore our solar
system. Twenty years after that dream took hold, I am now a propulsion
engineer working at the NASA Jet Propulsion Laboratory in California.
I spend my days either working on the next NASA Mars rover (a remote-
control robot the size of a car) or helping to develop a new propulsion
system with the goal of enabling a new class of small interplanetary
spacecraft. The night sky is much harder for me to see through all of the
lights of Los Angeles, but my passion for exploring it has not diminished.
I love the fact that space exploration allows us to think beyond the
mundane realities of day-to-day life, and instead focus on the larger
questions of who we are as a species, and where the future of humankind
lies. Many of us working in this industry have different views on why we
should explore. Most of us fundamentally believe that the drive to explore
is a key facet of human nature, deriving from the lives of the earliest
nomadic tribes. For those with a very long-term outlook, there is the drive
to become a multi-planet species in order to survive independently of our
home planet. Some people look to space as a means to extract resources,
seeing the potential to mine rare metals from asteroids, rather than
continuing to plunder our planet. Personally, I love that human space
exploration efforts force us to relook at our consumption of resources, in
an effort to strive to make our spacecraft ‘closed systems’ where every
resource is constantly being recycled and re-used. Every kilogram of
matter transported from Earth to space is expensive, so significant
resources are invested into improving the recycling of resources, such as
recovering oxygen and water. I believe that exploration of the planets in
our solar system can help us to understand our own planet, and hopefully
equip us to be better guardians of it.
The other aspect of space exploration that I am grateful for is the fact
that the technology developed for space exploration is also fed back into
society to help us improve our lives here on Earth. In fact, NASA was
originally established to lead US space exploration in favour of using a
branch of the military, so that the technologies developed for space can
be spun off for use on Earth. The statement from NASA, that it strives
“to improve life here, to extend life to there, to find life beyond”, speaks
to the wonderful altruistic side of human nature.
There are so many fascinating destinations for us to explore within
our solar system. Venus is our closest neighbour and yet is incredibly
difficult to visit. Any spacecraft trying to land on Venus must travel
through clouds of sulphuric acid and be able to survive temperatures of
greater than 450°C. Electronic devices in particular do not like exposure
to these temperatures. Only the Soviet Union has been able to land on
Venus, and even then its spacecraft survived on the surface for only a
couple of hours. Venus is closer to the sun than Earth is, but its
temperature is higher than can be explained purely from its proximity
to the sun; the high temperatures are due to a runaway greenhouse
effect. We do not know what caused this to occur, but studying Venus
could give us insight to some of the processes our planet might go
through if we do not curb our greenhouse gas emissions.
There are three moons in our solar system that everyone should know
about, as scientists believe they may harbour life. These moons, in no
particular order, are Europa, Titan and Enceladus. Europa is an icy moon
of Jupiter. Evidence indicates that Europa has a saltwater liquid ocean
beneath its icy surface and has enough energy to perhaps support life
forms within this ocean. NASA is currently working on designing
spacecraft to send to Europa to start exploring this moon. Keep your eyes
peeled for what it may reveal. Titan and Enceladus are both moons of
Saturn. Enceladus is interesting because, like Europa, it also appears to
have a liquid ocean. This was not realised until the Cassini spacecraft
observed a massive geyser spewing liquid water out into space. Titan is
interesting because it has a dense atmosphere, and appears to also have
stable lakes of liquid ethane and methane. The exotic atmospheric
composition of Titan means that if we were to find life there, it is likely
that this life would be entirely different than anything we currently know.
Mars is the most likely planet on which we will be able to land
humans in our lifetime. NASA has been exploring the surface of Mars
with robotic missions since the Viking spacecraft landed in 1976. These
spacecraft have taught us that although Mars is currently cold and dry,
it was once a warmer and wetter planet. Mars is a smaller planet than
Earth; it is thought that at some point its core cooled, causing it to lose
its magnetic field. Without a magnetic field to protect it, Mars gradually
lost most of its early atmosphere. We continue to explore Mars to better
understand this, to look for fossils of past life, and to see whether some
life might survive today in sub-surface water or caves.
There is fascinating technology being developed to help enable long-
term human spaceflight. The Mars Oxygen In-Situ Resource Utilization
Experiment (MOXIE), scheduled to fly on the next NASA Mars rover, is
one such example. This instrument is designed to demonstrate that we
can produce oxygen from carbon dioxide in the Martian atmosphere.
The production of oxygen from in-situ carbon dioxide on Mars would
be a game-changing technology for human exploration. If enough
oxygen can be produced it could be used not just for human life support,
but also as a propellant for rockets to launch off the surface of Mars.
There is also a significant amount of biological and engineering research
being conducted on the International Space Station (ISS) to enable long-
duration human spaceflight. Thanks to the ISS, humankind has
continuously inhabited lower Earth orbit for 17 years. The ISS has allowed
us to study the effect of long-term exposure to microgravity on the human
body, which accelerates bone loss and muscle degeneration. Mitigations
in the form of nutrition, targeted exercises and medication are all being
studied on the ISS. These health issues are not just a problem for
astronauts; the symptoms seem analogous to those experienced by
elderly, bedridden patients. The ISS is also a prime research location for
improving life support systems, and working towards maintaining a
closed system where every resource, such as water, can continuously be
recycled and reused. The research being conducted on the ISS will be key
to keeping our first human Mars explorers alive and healthy for the
duration of their mission to the red planet.
It is not clear when the first human mission to Mars will occur. NASA
is not the only organisation with its eyes on the red planet. Europe’s
ESA is working on its first Mars rover, scheduled for launch in 2020, and
Elon Musk’s SpaceX is developing a large propulsion system with the
goal of eventually landing humans on Mars. Regardless of which
organisation leads this push to the red planet, I am grateful for the
opportunity to be at the forefront working with the technologies for
such a mission. I still spend my time looking towards the stars,
wondering if I, or someone I know, will be chosen to travel to Mars. In
the meantime, I hope that space exploration continues to benefit our
home planet and that, as a species, we are proud of the steps that are
being made towards the peaceful exploration of our solar system. ■
M A R C H 2018 153
Emma’s edit.
VOGUE CU LTU R E

Graphic
detail
A Prada campaign catapulted
Australian artist Stellar Leuna’s
feminist characters into the spotlight.
Here she talks to Sophie Tedmanson
about finding beauty in the dark side.
ST YLING PE T TA CH UA
PHOTOG R APH JAKE TER R E Y

VOGUE: YOU HAVE A FASCINATION WITH THE

OCCULT AND MAGIC AND WE READ THAT THIS
STEMS FROM A CHILDHOOD FASCINATION WITH
THE WIZARD OF OZ. IS THIS TRUE AND, IF SO, WHAT
IS IT ABOUT THE DARK SIDE THAT INTRIGUES YOU?
SL: “I love the imagery and the mystery within
witchcraft. It’s something people have
practiced in almost every culture for as long as
humans have existed. I think it has a lot to do
with people wanting to find meaning in our
existence, a lot like religion or philosophy, but
there isn’t really a need to prove that it’s real.
“Guillermo del Toro once described
perfectly why he loves horror so much and it
was because he felt that in a world that
worships beauty and perfection, horror is a
way for him to explore the ugliness and the
imperfections of people, which I thought was
so true. Maybe in a similar way I am drawn to
things that look or sound ‘ugly’ because it
feels most honest to me. This is why I love
punk and metal and comics, because they
challenge what is considered good or
beautiful and actively try to destroy them.”
VOGUE: WHEN DID YOU FIRST REALISE
ILLUSTRATION AND GRAPHIC ART WAS THE ART
FORM YOU WANTED TO WORK IN?
SL: “What I do for a living is exactly the same thing as what I’ve done my of being a ‘messy artist’ who used a million different types of paint, but
whole life: drawing pictures in my room by myself. I know I get my best I later on realised that doesn’t work for everyone. I only use one medium
ideas when I am alone without distractions. My studio is in my right now and that’s black ink and brushes.
apartment; I don’t have a separate studio outside of that, because I just “I really like to think about my own experiences and combine that
enjoy the comfort of being at home. This career just fits my lifestyle and with fiction, and I guess visual inspiration comes from a still from a
personality and I can’t really see myself doing anything else.” movie I just watched or a song I was listening to. I try to draw every day
VOGUE: WHAT INSPIRES YOU? or think about ideas whenever I am doing other things. I can become
SL: “Film, music and the people I have met throughout my life.” weirdly obsessive over a single idea and will try to think of as many
VOGUE: DESCRIBE YOUR CREATIVE PROCESS: WHERE DOES YOUR NARRATIVE different ways to draw it.”
COME FROM AND ARE YOUR CHARACTERS/EVENTS INSPIRED BY ANYONE IN VOGUE: THERE IS A LOT OF STRENGTH IN YOUR CHARACTERS. HAVE YOU
PARTICULAR? HOW OFTEN AND WHERE DO YOU DRAW? ALWAYS BEEN STRONG-MINDED, OR DO YOU FIND STRENGTH THROUGH ART?
SL: “When I was a teenager I was really infatuated with the stereotype SL: “I don’t think I can draw what I draw without it feeling like it’s

154
 coming from an honest place. If I am not feeling confident then usually
what I draw doesn’t turn out good. I really need to be in a positive state
of mind in order to get anything done. I know the subject matter is
usually fictional, but the emotions that I try to convey through my
drawings are real.”
VOGUE: YOU ARE DESCRIBED AS A FEMINIST ARTIST – DO YOU AGREE?
HOW DOES IT FEEL BEING IN THE MIDST OF THIS CURRENT WAVE OF
INTERSECTIONAL FEMINISM?
SL: “I am proud of it and I do not take any of it for granted. But I’ve never
felt like race or gender should determine the opportunities that you get
or don’t get in life, so why would I expect it now? As long as we keep
fighting for equality, I hope gender and race will eventually not be an
issue we have to debate within any industry.
“I have thought about my place in the Western art world a lot. Being
Chinese and living in Australia, I have spent my whole life thinking
about my race and like I don’t belong here even though I’ve lived here for
25 years. Before minorities were acknowledged and encouraged to have a
voice, we just had to put up with discrimination and brush it off. I don’t
like being given opportunities in art simply because of my race or gender
even now, because then it becomes something I get out of sympathy or
charity, like a participation award. While it is important to be inclusive
within certain contexts, it’s very patronising when someone asks to put
me in a show because they ‘need more people of colour’. It can sometimes
feel like they’re doing it more for their benefit than that of the artist.
“The one thing that matters most to me is that other people who are
like me, regardless of race or gender, can look at my art and feel like
they can do anything they want.”
VOGUE: YOU’VE MOVED INTO COMMERCIAL WORK THROUGH VANS AND THE
GALERIES VICTORIA, AND YOUR WORK FEATURED IN THE PRADA SPRING/
SUMMER ’18 COLLECTION. HOW DID THE PRADA COLLABORATION COME
ABOUT? TELL US ABOUT THE CHARACTERS IN THE PRADA COLLABORATION.
SL: “They just emailed me! There wasn’t a lead-up to it or anything; I just
woke up one morning and read my emails just like any other day. A lot
of people hear this and think it must be crazy to work for Prada, but
they operate just like any other company and we discuss everything the
same way I would with any other client. It’s very normal and
unglamorous. I didn’t even get to go to Milan fashion week, because it
was such a short time frame between conceptualising the collection and
the show, and I was working on a huge illustration project at the same
time. I wish I could have gone to see it though.”
VOGUE: YOU ARE AN IDENTICAL TWIN! WHAT IS THIS LIKE? IS SHE ARTISTIC?
SL: “Being a twin is very weird, even though I don’t really know any
other way of being. Whenever one of us does something remotely
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
significant we have to tell each other right away. There were also many
points in our life where we felt like we had to actively be different to one
another, because we were constantly fighting over silly things due to
our personalities being almost identical.
“She is actually a jewellery designer and has her own label called
N T E R V E W BY S O P H E T E D M A N S O N
Lyleu. Her work is very much inspired by a lot of the same things. We
always drew together as kids and both always knew we’d be artists
when we grew up, but ultimately we took different paths. She’s always
been way more into jewellery than I am, and her style of drawing
was always very different.”
VOGUE: WHAT DO YOU LOVE MOST ABOUT BEING AN ARTIST?
SL: “The freedom.”
FIVE ARTISTS WHO INSPIRE
EMMA WATSON AS A FEMINIST
MARY BETH EDELSON
“A true pioneer of feminist art and political activism, Mary
Beth Edelson’s influence and impact on the art world has
been huge. I love how accessible, playful and theatrical her
work is, using cultural references – from film noir femme
fatales to Da Vinci’s Last Supper – to challenge how women
are portrayed in art and in the media.”
ELIZABETH CATLETT
“Elizabeth Catlett used her experience as an African-
American woman growing up in the early 20th century
to create art advocating for social change at a time when
segregation was still a reality. Her linocuts beautifully convey
powerful emotions, and I love the way her sculptures depict
women with such warmth and strength. Her linocut series The
Black Woman (1946), (formerly The Negro Woman), celebrates
inspirational African-American women like abolitionist Harriet
Tubman and poet Phillis Wheatley, but also all the anonymous
women struggling daily against racism and misogyny.”
FRIDA KAHLO
“Frida is a huge icon for so many people. Her famous quote:
‘We can endure much more than we think we can’, is one
I think of very often as emblematic of women’s ability to
survive. I would love to own one of her paintings one day, but
the closest I’ll get to that life goal this year will be seeing the
exhibition of her personal possessions that will go on display
at the Victoria and Albert Museum in London from June.”
SHIRIN NESHAT
“I first came across Shirin Neshat when I read that her
feature film, 2009’s Women Without Men, earned her the
Silver Lion award for best director at the Venice Film
Festival – it’s not often female-directed films win awards. I’m
intrigued by Neshat’s explorations of gender and religion,
the body and politics, control and rebellion. She works a lot
with film as well as photography, and as an actor in films I’m
always fascinated by the use of film in the art world.”
ZANELE MUHOLI
“Zanele Muholi is an incredible photographer and artist
but describes herself as a ‘visual activist’, which I love and
respect. She’s also co-founder of the Forum of Empowerment
of Women, and also founded Inkanyiso, a platform for queer
and visual activism. One of her projects has been developing
an archive of portraits of South Africa’s black lesbian, queer
and trans community for more than a decade, and some of
her subjects have lost their lives in homophobic attacks.”
For Emma Watson’s full list of artists, go to Vogue.com.au.
MARCH 2018 155
D OWNLOAD THE VOGU E D I G ITA L E D ITI O N NOW.

NOW AVAILABLE
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1. Redefining Realness (Atria Books, $22.99) by Janet Mock
For a trans person, telling their story, standing in their truth is a
revolutionary act. Janet Mock shares all that society has told her to keep
quiet in service of her truth and to help empower others. We not only
see her in all her humanity, we are moved to see the world differently.
2. The Five-Minute Journal (Intelligent Change, $28.99)
by Alex Ikonn and UJ Ramdas
I love the idea of starting my day by listing three things I’m grateful for,
and going to bed thinking about three amazing things that happened in
the day. I’m a big believer in the transformative practice of gratitude.
3. Ain’t I A Woman (Routledge, $39.99) by Bell Hooks
Bell Hooks wrote this book in 1981, but her commentary about the
impact of racism and sexism on black women is still relevant today.
The book reminds me that in order to fight for true equality for all
women, we must take into account the movement’s past injustices.
4. The Mother of All Questions (Granta, $24.99) by
Rebecca Solnit
A brilliant follow-up to Men Explain Things to Me. I love referring people
to her essay … [i.e.] when asked in the wake of the #MeToo movement
whether there can’t be any jokes or fun anymore. She slays the myth that
A L L P R I C E S A P P R OX I M AT E
feminists don’t have a sense of humour: she’s funny as hell.
E D WA R D U R R U T I A
5. Rumi: Bridge to the Soul: Journeys Into the Music
and Silence of the Heart (HarperCollins, $19.99) by
Coleman Barks
VOGUE CU LTU R E
One of my favourite lines from a Rumi poem is: ‘Stop acting so small,
you are the universe in ecstatic motion.’ His words, even in grief, are so
lushly drawn, full of knowing. He truly is a genius.
6. Homo Deus: : A Brief History of Tomorrow (Vintage,
$24.99) by Yuval Noah Harari
The author has a vision for the future in which humans have mastered
most of our environment, from nature to our own biology. I want to try
and understand the potential consequences of our scientific advances.
7. Why I’m No Longer Talking To White People About
Race (Bloomsbury, $19.99) by Reni Eddo-Lodge
With history, context and astute commentary, Reni Eddo-Lodge gives
us critical ways to see and understand how structural and damaging
racism is on an everyday basis.
8. Conscious Business: How to Build Value Through
Values (Sounds True, $29.99) by Fred Kofman
Conscious Business is about being mindful in your professional life.
Kofman writes about responding to challenges in a way that honours
your own values and builds mutually respectful relationships.
9. Stitched Up: The Anti-Capitalist Book of Fashion
(Pluto Press, $29.99) by Tansy E. Hoskins.
Tansy Hoskins begins her book with the unflinching description of the
horrific fire that killed 1,133 garment workers in Bangladesh. By the end
of the book, she makes a strong case for nothing less than a revolution.
To see more of Emma Watson’s literary picks, go to oursharedshelf.com, where
the actress selects and reads a feminist text every other month.
M A R C H 2018 157
 T
here are few people in this world who have or will ever travel to the remote,
startlingly beautiful but treacherous Arctic region and Antarctica, yet at just
16, Jade Hameister can lay claim to having trekked through both.
On January 10 this year, the young adventurer completed the last leg of her Polar
Quest, a challenge she set herself three years ago to become the youngest person ever
to complete the polar hat-trick, which includes three separate excursions to the North
Pole, Greenland Crossing and South Pole as part of a team that includes her dad.
During her combined trips – covering more than 1,000 kilometres on skis –
Hameister has had to contend with sub-zero temperatures, 24 hours’ daylight, the
threat of polar bears, perilous crevasses and the extreme fatigue and physical pain
that comes with dragging a sled of supplies weighing more than her own body
weight for up to 12 hours a day.
But having conquered, she’s actually feeling a little deflated. “I have a big hole in
my life, to be completely honest,” she says. “I loved having something big to work
towards and try to achieve. As much as I am super-pumped to have completed my
almost three-year goal and go home and see family and friends, it’s really sad.”
Hameister acknowledges that while her mixed emotions on leaving the South Pole
and the period of adjustment to normal life are natural, it was thoughts of home that
H A R A N D M A K E- U P: CO L E T T E M L L E R S T U D O : H O G A RT H , M E L B O U R N E
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
N S TA G R A M . CO M /J A D E H A M E S T E R /
spurred her on during the final and longest expedition –
traversing from the edge of the frozen Antarctic continent
to the geographic South Pole while chartering a new route
of 605 kilometres through an environment that is as hostile
as it is spectacular.
On day 24 of the 37-day journey, she reported: “We have
battled our way for around two weeks, constantly slipping,
sliding, being jerked to a stop by the sled catching on an
immovable chunk of ice. We’ve also encountered super-
windy weather that drops the temperature, including two
days of -50° Celsius. One of these brutally cold days was
Christmas Day! I’ve lost the feeling in the tips of my fingers
and toes and my body aches everywhere … I would do
anything for a bath and a home-cooked meal.”
Compounding the discomfort was the fact that 10 days
into the trip, she couldn’t log on to Spotify. “I’ve had way
too much time with my voice in my head while skiing and
trying to block out negative talk when I’m in pain,” ¤
Above: Jade Hameister on Christmas Eve in Antarctica on day 22 of
her trip. Below: the team take a breather 250 kilometres from the pole.
M A R C H 2018 159
Emma’s edit.
VOGUE CU LTU R E

she said of having to spend monotonous hours each day without music to stimulate and distract. hours with my own thoughts; everything
“I’m going a bit crazy and running out of things to think about.” slows down. Back in civilisation, there is so
On completing the trifecta, the Melbourne student has set new records: becoming the youngest much excess, waste and fakeness. We are
person to ski to the North Pole from anywhere outside the last degree, the youngest woman in bombarded with commercial messages and
history to cross Greenland coast-to-coast, and the youngest person ever to ski from the coast to pressure to want more or look different.”
the South Pole. And while that’s an achievement she’s proud of, her motivation runs far deeper. The fragility of Earth too, becomes glaringly
“Something super-close to my heart that I’ve been trying to apparent. “The other aspect that I’ve
spread along the way is a message about young women and discovered along the way is climate change
shifting the focus from our appearance to the possibilities of what “I AM and the effect it’s having on polar regions. It
our bodies and minds can do, and also choosing bravery over DETERMINED TO wasn’t really a big issue for me before these
perfection,” she explains.
It’s a perspective that comes into even sharper focus when life is SHOW THAT trips, but then when you see it first-hand and
experience it, you get really annoyed when
stripped down to survival and the artifice of consumerist society YOUNG WOMEN people try and tell you it’s not happening.”
stands in stark contrast. ARE CAPABLE OF Promoting her message hasn’t come without
“On expedition I am reminded of how little we need to survive,
and we waste nothing. Being immersed in nature for such a long SO MUCH MORE” sacrifice, though. While her friends were
talking excitedly about summer school
time with no external stimulation, not even music, I spent over 300 holidays late last year, Hameister was pulling
tyres across parks and beaches as part of her
intensive training six days a week and
preparing for weeks of extreme cold, constant
pain, no showers and a limited diet of
dehydrated meals.
But aside from her obvious drive to achieve,
Hameister is fuelled by the reward of feeling
like she just might be making a difference. As
well as the significant media coverage her
story has garnered, she has presented two
TEDx Talks and was featured in a National
Geographic documentary about inspiring
young women.
“I’ve had messages from people to say
they’ve heard me speak or seen me online and
that they’re super-inspired, and that’s really
nice,” she says in her characteristically
unassuming way. “But with my friends it’s not
really something I talk about … to them I’m
just Jade, otherwise it would be a bit weird.”
Right now, she is savouring the simple
luxuries of having a shower in her own
bathroom, sleeping in her own bed, enjoying
her mum’s meals and being reunited with her
dog, Ava. Yet there’s still a part of the teen that
remains attached to that icy, alien landscape
she’s just visited. “Now that I’m clean and

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
back in normal life, the only thing I want to do
is to be back on the ice (which is always the
case) and everything about normal life just
seems weird,” she says.
Of her quest, she remarks: “It is definitely
not glamorous and it is extremely hard as a
woman, especially when you’re in a team with
four grown men, but I am determined to show
that young women are capable of so much
DUNCAN K LL CK

more than what was ever thought possible.”

To find out more about Jade Hameister’s epic
expedition, go to www.jadehameister.com.

160 MARCH 2018

P H OTO G R A P H S : R I C H A R D F R E E M A N H A I R & M A K E- U P R A C H E L M O N TG O M E R Y
VOGUE PROMOTION

Aqua Blu creative director Kristian Chase is reimagining the label’s swim and resort lines.
Think designs featuring bold colours, prints and details, all with a high-fashion twist.

S
ummertime is a favourite season for many
Australians, and those sunshiny days can last for
months, especially for those now jetting off on a
tropical getaway. And that means an absolute essential is
a functional, fashionable swimsuit or two. Creative
director of local swimwear label Aqua Blu, New York-born
Kristian Chase, admits his couture background (he worked
for luxury brands Dior, Hermès and Louis Vuitton) made
him think designing swimwear wasn’t a natural fit – until
he moved here. “The climate is delightful and I developed
a love for summer fashion. I wanted to push the boundaries
of what people expect of swimwear,” says Chase. “Couture
is magical and its focus on artistry and craftsmanship is
what truly sets it apart. I bring a lot of couture techniques
to my swimwear and resort designs, which are limited-
run, elaborate and unique.”
Luxurious fabrics in vibrant prints and colours figure in
the swimwear and resort ranges for summer ’18/’19. “The
styles are old-Hollywood glamour with a couture element
of being distinct and bold,” says Chase. And in a coup for
the label, Aqua Blu will be the only Australian label to
have a show at Miami Swim Week in July.
When it comes to choosing swimwear or resortwear,
Chase’s tip is: “Think colour, colour, colour. Why blend in?
Stand out, be noticed.”
Available from July; visit www.aquablu.com.au.
Emma’s edit.
VOGUE CU LTU R E
Home truths
UNHCR Goodwill Ambassador
Cate Blanchett dissects the scale
and severity of the global refugee
crisis, and how we all have a stake
in identifying and enacting
solutions. Image from Ai Weiwei’s
documentary Human Flow.
162
W
e hear the alarming statistics: almost 66 million human
beings forcibly displaced around the world, and we see the
fallout from the continued failure of world leaders to
secure peace. In many quarters there is divisive and polarising language
being used for political gain that gnaws away at our empathy and our
compassion. But we also sense the geopolitical, social and economic
and environmental threats that will drive yet more humans to be
displaced and understand that lost generations of uneducated,
disenfranchised and displaced children not only represent a vast loss of
potential, but also a threat for future global security and prosperity. So
surely we must now accept our role in finding new ways to respond to

the refugee crisis, both in the short term and across the years and years
of exile, so that we can ensure that refugees are considered less ‘victim’
and ‘burden’ and more participants within their host communities,
to the benefit of all.
At the World Economic Forum (WEF) in Davos in January, there was
talk of disruption, the fourth industrial revolution and shared solutions
in a fractured world. But nowhere is the fractured world more humanly
embodied than in the refugee. This is a person who has been uprooted
from all that they hold dear, forced to flee, often resented and reviled in
the country in which they settle, labelled as an economic burden or
a terrorist threat – and this is the narrative we truly need to disrupt.
This is a person
who has been
uprooted from all
they hold dear and
often resented in
the country in
which they settle
Since when did we lose our focus on the human being, on our
commonalities, on our shared bonds, on the meaning of the phrase:
‘There but for the grace of God, go I’?
I feel incredibly privileged to have the opportunity with work with
UNHCR, the UN Refugee Agency, as a Goodwill Ambassador and to get
into the field and meet refugees first-hand. In Jordan, in a media shelter in
the Azraq camp, I met Shardi. Shardi had been twice displaced – first from
Syria, then from Yemen. His heartache was clear as he showed me
fragmented, worn, much-loved, precious photographs of his parents and
his brothers from whom he’s long since separated; family, perhaps, he may
never see again. When he fled, Shardi had left behind his own ambitions
of becoming a scientist, like his heroes Pierre and Marie Curie and Albert
Einstein. But ever resourceful, he instead channelled his energies into the
future of others by working as a volunteer teacher in the camp, imparting
his knowledge and his love of science to refugee children and building in
them both the skills and the desire to one day return home to their
country and rebuild it – because Einstein had been a refugee, too.
So let’s try to drop for one moment the loaded label of refugee in order
to see the person behind it – Shardi – an aspirational, technically gifted,
resourceful, resilient, generous, man, father, husband, teacher. And let’s
move him from ‘them’ to ‘us’ – because it’s very easy to turn our backs on
the abstraction of the enormous numbers of those in need. Standing face
to face with just one human being, looking them in the eye, hearing their
story and experiencing our common humanity, it becomes much harder to
do nothing. Once you’ve borne witness, you cannot turn away.
Just like at the WEF at Davos, there’s an incredible opportunity to
reconnect and start transformative thinking and turn this thinking into
transformative action. And whether your lens is one of sustainable
profit, or business integrity, or competitive advantage, innovation,
creativity or security, please consider the incredible opportunities that
come from engaging with this issue and with the UNHCR. And perhaps
also, too, about the long-term risks of not doing so.
Beyond that, as parents, as sons, daughters, effective leaders, inspiring
role models, and as people who understand the value of legacy, consider
why this is important to you. I ask you to be reinvigorated by your
moral compass. The New York Declaration for Refugees and Migrants
has given us a huge opportunity this year – to the states, to the private
sector, to civil society, to UN agencies and NGOs – to develop a template
for a more sustainable solution for displacement scenarios. And by
marrying humanitarian and development action and by drawing on the
business acumen, resources and technological capabilities of the private
sector, we can achieve far more effective and genuinely shared solutions,
so we think not just of sheltering and feeding refugees – incredibly
important – but also of connecting them, developing their capacities
and welcoming their skills, their resilience and their hope.
This is an edited version of the speech Cate Blanchett made at the WEF in Davos
where she was the recipient of the WEF Crystal Award (for artists who make a
positive change in society). Ai Weiwei’s Human Flow is in cinemas March 15.
M A R C H 2018 163
Emma’s edit.
VOGUE CU LTU R E
Set them free
Julia Ormond, actress and former UN Goodwill
Ambassador against Trafficking and Slavery,
founded the non-profit ASSET Alliance to Stop
Slavery and End Trafficking in 2007. Here she
ponders what has progressed over the past decade.
J
ust before Christmas, I experienced the privilege of standing at the
very top of Sydney Harbour Bridge, viewing a city and world of
breathtaking beauty. I marvel at the places my life’s path has taken
me, and there are times when the world’s beauty so overwhelms, that the
shadow of all our worst behaviour seems so distant, as to be imagined.
Over the past two decades I’ve travelled all over the world to learn about
human rights. From 2005 to 2008 I was a UN Goodwill Ambassador
against Trafficking and Slavery, and in 2007 founded a non-profit called
ASSET – Alliance to Stop Slavery and End Trafficking. During this period,
I learnt a great deal about the UN and its internal challenges around this
issue. There are phenomenal and inspiring individuals within the UN
who have dedicated their lives to positive human progress. They bear the
burden of the wider UN with its highly laudable Sustainable Development
Goals (SDGs), and the restrictions it faces by having to juggle the demands
of member states and their respective donors. An informed public could
surpass that by tapping into their own consumer spending power.
Trafficking, enslavement and forced labour, however, are the common
denominators that undermine each of the UN SDG agendas, yet are
rarely set as the priority. The reality is we will never achieve our goals
around global health and HIV/AIDS if we don’t address sex trafficking;
we will never have a healthy environment if we do not address forced
labour in deforestation; and we will never tackle food insecurity if we
run out of seafood, as predicted, in 2048, if we do not address forced
labour in illegal fishing. Each of these intersects connect to supply
chains. As a consumer, asking about how and where a product is made
and where the raw materials originate sends a message up the chain
that today isn’t going unheard in the C-suite.
People often ask me where is it worst. And I always answer: in my own
home. There’s a certain comfort in hearing it’s in a faraway country: it
fosters denial, allows us to ignore the reality that you and I are paying for
this crime of forced labour, to the tune of US$150 billion in the private
economy. We need also to see this not as an issue solely applicable to girls
and women in sex trafficking, when the largest groups are mining and
agriculture and both of these feed into manufacturing. Women and men
in these circumstances are woefully vulnerable to, amongst other abuses,
being sexually harassed and abused. Statistics that are generated globally
also reflect the fact that there are large numbers of shelters globally for
girls and women, not so for men and boys, and we need to change that.
I have done many life-changing trips to most continents to meet
survivors of all faces of this issue – forced sex trade and forced labour in
agriculture, mining, fishing, manufacturing, domestic servitude and
child soldiers, among other areas. I met with non-profits and shelters, and
UN and local government officials in various departments responsible
for generating our global response. I came to see slavery in virtually
every country and virtually every supply chain, and simultaneously see
that we were for the most part as consumers oblivious to it.
I was stunned to learn early on that if we were to remove from our
wardrobes every item that didn’t have a single taint of slavery in it, we’d
164
be dressed in threads. It was a chilling realisation that despite all our
global wars, laws and pledges, we had only made slavery go
underground and not away, and that I could be paying for and
facilitating their abuse. The good news is the past decade has seen
increased intensity as technology starts to fill gaps that previous
manual monitoring couldn’t achieve with complex supply chains.
Much of the micro-challenges are dominated by needs for mapping,
tracking and tracing of places, people, product and practices, before we
can assess remedies and their shared costs. If we apply blockchain
technology, satellites and GPS tracking, biometric technology of
fingerprints and facial recognition, and internal and external
complaints mechanisms using mobile technology, we can map the
global workforce and automate its evaluation around work conditions.
Soon we will be able to do these things in real time. One external
complaints mechanisms company is LaborVoices, a company that
enables thousands of workers to empower the job hunter to find factory
owners who their peer group has rated.
In 2007, most brands we approached to discuss supply chains simply
shut the door in our faces. But denial was not just the problem, it was
unfortunately legally locked and enabled by corporate structures. The
only way forward to address the issue was to change the law, to be able
to discuss it openly and deal with it.
ASSET concluded that we had to
“Despite all take a legislative approach and
our global ASSET became the source of the
wars, laws and Transparency in Supply Chains
(TISC) Law in California (2012).
pledges we TISC requires the major
had only made manufacturers and retailers to
slavery go tell us what they are doing to
eradicate trafficking, forced labour
underground, and slavery in their product
not away” supply chains.
We went on to collaborate with the
charity Unseen in the UK, on the
inclusion of the Transparency in Supply Chains UK provision within
the UK Modern Slavery Act (MSA) of 2015. Now the Australian
government is looking at its own version.
Australia has more than just the fashion industry that it can positively
impact. In the mining sector, Australian mining of coltan and tantalum
has a strong connection to forced labour. Illegal fishing and shark
fishing not far off the coast of Australia could play a huge role in taking
seafood off the menu by 2048. Australia has an opportunity to align,
upgrade and scale disclosure requirements around transparency. And
every country in the world has local spots of forced labour and sex
trafficking, right under our noses.
In fashion, feelgood and real-good are starting to march down the
catwalk hand in hand. Brands like Burberry are doing well on
transparency compliance reports.
ASSET’s work today is to support the conscious consumerism trend,
take the outcomes of legally enabled transparency disclosures, support
their credible evaluation and rating, and get that information into the
hands of the consumer, so that those who care can easily answer that
question ‘What do I buy?’, and with every dollar that they spend, vote
for the world that they want. ■
MARCH 2018
 Guest speakers include:
H.E. António Costa
Prime Minister of the Portuguese Republic
Alexandre Arnault
Co-CEO, RIMOWA
Christian Louboutin
Maria Grazia Chiuri

Claus-Dietrich Lahrs
Artistic Director, Christian Dior

Giambattista Valli

Sabine Getty
Federico Marchetti
Founder, YOOX; Chief Executive Officer,
YOOX NET-A-PORTER Group
Claus-Dietrich Lahrs
Chief Executive Officer, Bottega Veneta
Giambattista Valli
Mark Shapiro
Co-President, WME IMG
Philipp Plein
Hilary Swank
Founder, Mission Statement

Maria Grazia Chiuri

Paula Amorim
Paula Amorim

Hilary Swank
Owner and Chairman, Amorim Luxury Group
Michele Norsa
Member of the Board of Directors, Ermenegildo
Zegna; Vice Chairman, Biagiotti Group
Adrian Cheng
Executive Vice Chairman,
New World Development
Marta Marques and Paulo Almeida
Marta Marques and Paulo Almeida

Founders, Marques’Almeida
Johnny Coca
Creative Director, Mulberry

H.E. António Costa

Alexandre Birman
Chief Executive Officer, Arezzo & Co.
Philipp Plein

Carlos Jereissati
Chief Executive Officer, Iguatemi
Hervé Pierre
Felipe Oliveira Baptista
Creative Director, Lacoste
Ara Vartanian
Sabine Getty
Gabriela Hearst
Simone Rocha
Vania Leles
Founder, VanLeles Diamonds
Uché Pézard
Chief Executive Officer, Luxe Corp.
Simona Cattaneo
Chief Marketing Officer, Coty
Marisa Berenson
Founder and President, Marisa Berenson Cosmetics
Alfredo Orobio
18-19 APRIL 2018, PÁTIO DA GALÉ, LISBON, PORTUGAL Founder, Away to Mars
Sophie Hackford
THE PREMIER EVENT FOR THE INTERNATIONAL Futurist
LUXURY AND FASHION INDUSTRY Stefan Siegel
Founder and CEO, Not Just A Label
Hosted and curated by Suzy Menkes, International Vogue Editor, LhÛZEn\Zl
the Condé Nast International Luxury Conference is the leading Editor-in-Chief, Vogue Portugal
event for decision makers from the fashion and luxury industry. Manuel Arnaut
Editor-in-Chief, Vogue Arabia
500 senior attendees from over 30 countries will gather in Eugenia de la Torriente
Lisbon for two days of learning, networking and discovery. Editor-in-Chief, Vogue España
Karla Martinez de Salas
FIND OUT MORE AND SECURE YOUR PLACE NOW AT CNILUXURY.COM Editor-in-Chief, Vogue Mexico/Latin America

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VOGUE CU LTU R E

ART

Threads of
meaning
Gene Sherman, executive
director of the Sherman
Contemporary Art
Foundation, and Iranian-
Australian artist Nasim
Nasr discuss fashion as
forms of art and identity.
ST YLING PE T TA CH UA
PHOTOG R APH D U N CAN KI LLI CK

Gene Sherman (left)

wears her own Ann
Demeulemeester coat. Issey
Miyake shirt. Yohji Yamamoto
belt, worn throughout. Sean
O’Connell bangle, worn
throughout. Karl Fritsch ring,
worn throughout. Nasim Nasr
wears an Akira Isogawa
kimono, $695, worn
throughout, and dress, $750.
Georg Jensen bracelets,
$1,795, and $3,675, worn
throughout. Her own rings.

166
 VOGUE: THE SHERMAN CENTRE FOR CULTURE & IDEAS (SCCI) PROGRAM LAUNCHES
NEXT MONTH, FOCUSING ON CONTEMPORARY FASHION AND ARCHITECTURE.
GENE, WHY DID YOU CHOOSE TO SHINE A SPOTLIGHT ON FASHION AS ART?
GENE SHERMAN: “When I opened Sherman Galleries, ideas around culture
were incorporated into my vision, including talks about contemporary
art and its intersection with other topics; the notion of an exchange of
ideas has been important to me from the outset. After 21 years I decided
to expand the gallery’s remit from contemporary visual art to
contemporary visual practice, including fashion, design and architecture,
within the context of a not-for-profit foundation. With the Sherman
Contemporary Art Foundation I commissioned multiple new works
and showed existing works and we had an active and engaging Ideas
Programme, which encouraged engagement with a wide audience.
“I struggled somewhat with the fashion shows and was determined
to avoid the mainstream topic of frocks in stores. Instead, I aimed to
encourage in people an understanding of fashion as a serious cultural
endeavour. I curated one fashion show called Feel and Think featuring a
group of Japanese fashion designers whose ‘non-wearable’ creations
pushed boundaries. The exhibition was such a success that I grasped
then and there a hunger to consider
fashion in a different way.”
VOGUE: NASIM, YOUR PERFORMANCE,
“In my opinion,
WOMEN IN SHADOW, IS INCLUDED IN THE fashion brands
SERIES. TELL US ABOUT THIS WORK. can easily lose
NASIM NASR: “I was always fascinated feeling and
by the idea of women in Western
outfits and it being more liberal and meaning
free because you don’t have to wear unless they
something because of the rules of
your country or the rules of your
have honesty Nasim Nasr takes artistic
control in the studio. The
religion. I was fascinated by this and trust, artist wears a Song for the
Mute dress, $895, from
because I grew up in a country where integrity and Harrolds. Her own shoes.
Gene Sherman wears her
women don’t have the choice of what
to wear in public. When I came to
continuity own Comme des Garçons
coat and Céline shoes.
Australia my art career was shaped within them”
by the fact that I had the freedom to
do whatever I liked to do and wear whatever I liked to wear. I was also Trung and Akira Isogawa, I feel that creative artistic point comes from
interested in cultural differences between East and West, which has been the moment of design and when I see them put things, ideas and
a major play in my artwork since 2009. So I thought there must be a way sketches on paper and it’s that that fascinates me.”
to connect these two with artwork. For me it was always how much an VOGUE: GENE, HAS FASHION SHAPED YOUR IDENTITY?
one’s identity can transform when you wear something corporate and GS: “Hugely. In ’85, I discovered a shop run by Rhonda Parry. I saw some
when you wear something relaxed or something as a signature of your clothes in the window and asked her about the designers. They were, in
style, more artistic … So I set up this fashion parade performance based fact, Japanese contemporary fashion pioneers Issey Miyake, Rei Kawakubo
on my major interests and questioning how much you can be controlled and Yohji Yamamoto. When I first visited Japan in ’87 I decided to track
by what you wear, especially as women.” them down, a decision that started a journey I am still on. I have a wearing
VOGUE: DO YOU THINK FASHION IS UNDER-VALUED AS AN ART FORM? wardrobe of 35 to 40 mostly black garments by the same three designers.
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

GS: “Yes, I feel the focus on shopping might cloud our understanding of Fashion is the primary form through which I project my identity.”
VOGUE: WHAT ARE YOUR VIEWS ON ETHICS IN THE FASHION INDUSTRY?
H A R : P E T E L E N N O N M A K E- U P: N CO L E T H O M P S O N

fashion, which clearly has multiple additional layers, as serious as

contemporary art or architecture. The beauty of the pieces is an
important element and often related to the craftsmanship. However, the
textiles, the sustainability and the process from thread to finished
garment are equally important. Fashion photography, fashion
N T E R V E W: C U S H L A C H A U H A N
NN: “I see everything through an artist’s lens, so for me to place myself
in the fashion and designer’s place could be difficult. In my opinion
fashion brands can easily lose feeling and meaning unless they have
honesty and trust, integrity and continuity within them.”

illustration, the role of fashion in film and books are all worthy of
attention. Aesthetics versus functionality, fashion and technology,
costume and more are all of interest to me.”
VOGUE: NASIM, WHAT INSPIRES YOU ARTISTICALLY ABOUT FASHION?
NN: “What really interests me is the creative thinking of the designers.
When I sit down and talk to designers such as Carla Zampatti, Alistair
GS: “I think seriously about ethics regarding fashion. It is important to
recognise that people deserve to earn a decent living and are treated as
we ourselves would wish to be treated. I avoid fast fashion and have
shaped my personal style to enable longevity.”
The SCCI Hub Series is on in Sydney from April 5 to 21. For more information,
go to www.scci.org.au.

M A R C H 2018 167
VOGUE CU LTU R E

The
incredible
lightness
of being
On the eve of an extraordinary exhibition in
Melbourne, Alison Veness spoke with artistic director
Pierre-Alexis Dumas about the handcrafted pieces
he conceives and finding lightness amid darkness.

W
e are in Hermès headquarters on the Rue d’Anjou in Paris,
high up in Pierre-Alexis Dumas’s office. It feels slightly
mid-20th-century modern, and, somehow, very him. It is
filled with light and the walls are covered with paintings of all sizes
stacked, hanging, bright, absorbing and fascinating; surfaces hold
drawings, objet d’art and lush books. Memories and ideas. A grand desk.
A simple meeting table.
“This is my personal sanctuary at work,” he explains of his working
space. “It’s more of a place where I can be me and it reminds me of the
necessity of being me, and so my mind is free to give the best of myself
to my work here at Hermès and not serve anything else.”
I venture that he could get lost otherwise, given the pressure of his
role and the demands of success. Hermès is, after all, flourishing under
his artistic direction. But he bats away the suggestion. “No, no. I don’t
believe in the pressure of success.”
What he does believe in, however, is the relationship between pleasure
and desire – bedrock stuff for the H-brand. “They’re two basic human
needs and we need both, so pleasure is the present and desire is the
future. In fact, if you only live in the present, in pleasure, I’m not sure
you’re developing your brain as much as you could. And if you live in
desire and never fulfil your desires it’s a never-ending frustration. But
desire is what makes us build, create, dream and go forward. We really
need both. I think it’s a nice accomplishment to be able to serve pleasure
and desire rather than anything negative.
“All these objects,” he says, gesturing, “are not arranged, but they
matter to me.” He picks up an orange building-site hard hat: “This is
very important. My father, Jean-Louis Dumas, really had a vision to
open a modern manufacturing place where craftsmen and women
could work in the ideal conditions to give their best. When I was a kid,
all the leather production until 1991 was done above the store and there
were 80 craftsmen. I worked there for five years from the age of 11, so
I remember it very well. My father told me: ‘Craftsmen need natural
light, they need space.’ And so with that in mind, the first modern space
was built in Fontaine. Now we have over 15 manufacturers and 3,000
craftsmen – that’s why we are a start-up at Hermès. We are 200 years old
but we are a start-up!” he says, laughing. ¤

168
Hermès Éditeur H1 Josef Albers scarves. From top row, from left: Nocturne, Allegro, Silver Dawn, Joy, Greek Island and Formal Garden.

MARCH 2018 169

VOGUE CU LTU R E
Dumas kept the hard hat as a reminder “that we are builders, not just
designers; we have a journey”.
The Hermès journey has produced many incredible designs from the
earliest horse harnesses to the luxe ready-to-wear collections, but
perhaps one of the most unifying innovations has been the company’s
exploration and interpretation of colour across all materials. And so
Dumas and I talk about the new season and how from New York
through to Paris there is very little black running through the
international collections and how the current sense of darkness and
uncertainty has inspired light and colour. “The absence of light is what
gives light its reason of being,” he says. “You cannot separate black
from white. They are intimately connected.
“German-born American painter Josef Albers said that our experience
of colour is only based on colours bouncing together. To explain that he
released a book called Interaction of Color in 1963.
“That is a very precious object,” he says, pointing. “This is just a piece
of paper that was in Josef’s studio, and it’s how he worked with a knife
and spreading colour. He was always interested in trying to understand
how one colour relates to another. But his theory is that colours don’t
exist; they’re not stable. You don’t have an absolute blue or green or
white. This is why in my ‘little museum’ I have in the middle [of the
wall] my golden square. First of all it’s a square, and I’m a bit obsessed
with squares, but it reflects natural light. You see when light disappears
[Dumas switches off the lights], when you fall into darkness, look what
happens, look at the square …” The square turns from yellow to a
glistening gold. Dumas takes great pleasure in this natural magic.
“You see the colour of that? It makes an impact. We are in darkness
and yet you can see it’s an allegory of our present time: the world is
going into darkness. But what you didn’t see, what you thought was just
yellow, is gold. Which means what is most precious when times are
dark, what we took for granted, becomes gold. That’s why the season
maybe looks brighter than usual, because of the context in which it
emerges. So it’s the context that gives your perception of colour. And
the first one who said that was Joseph Albers in 1963.”
Albers’s Study of Homages to the Square, painted between 1950 and 1976,
inspired Dumas to reproduce six of those paintings on silk scarves,
bringing the art to life in a swoosh of fabric. They are sublime.
“So I think in all the darkness … paradoxically, I feel there is more
hope today than yesterday, because suddenly we realise what we might
lose. So we are hoping. I’m an optimist. I believe human beings are good
in nature. What we need to do is always go back to that part of us which
is maybe an optimist, maybe a bit naive, but has desires and dreams. We
are all children. We have not left our childhood aside. When I meet
people I like to picture them at the age of 10.” Hermès, he says, is not
about being childish but about being childlike: “Having that innocence
and being able to wander the world and think: ‘Good lord, this is just so
beautiful.’ We have to celebrate it and not take it for granted.”
And celebrate he does. “I love the exercise of composing an image into
a square that will become a scarf. I love images and I love the process of
making images before adding the colour. The two fundamental
elements for an image are the composition of shapes on that image and
the colours that are distributed in these shapes and how they interact
with each other. I love silk screening techniques because we apply areas
of colour. You can see, for example, on the scarf you’re wearing, a figure,
and you can think: ‘Oh, this is a Native American.’ Or you can see a
170
distribution, a mass of colours, and it gives you a sense of harmony.
It means you can look at an image in a purely abstract way, even
if it represents something you can see beyond that and just feel how
this image affects you. Does it feel good, does it feel bad? Is it disturbing?
Is it exciting? You talked about the confrontation of green and pink,
which I think is a nice combination. It’s like playing the piano: it’s not
a dissonant chord, it’s a change of harmony.”
Before we meet, Dumas had been talking to the design team about his
vision and inspiration for 2019. “My job at Hermès is to accompany the
creative process and we are in the field of applied arts, so whatever we
produce I make sure that the creativity we apply in that field is the
proper one according to Hermès, its culture, its history, its vision.”
He tries to avoid being the paternal figure, believing in collective
talent and intelligence. “We are all serving a great house that does not
belong to anyone anymore. Nobody is called Hermès. My grandmother
was called Hermès but my family name is Dumas and my cousins have
other names. So we serve a house called Hermès collectively. My talent
is to be able to understand the coherence of Hermès. They are all
specialised but I am across the board, so I have a unique point of view.
I am 51 years old, I grew up in this family, and I’ve worked 25 years at
Hermès. I’ve acquired a sense of what Hermès should be. I’m serving
this idea, reinventing Hermès, questioning what Hermès is about. How
can we give contemporary expression to Hermès? Hermès is a spaceship
that travels through space and time and we go on board and we are
trying to drive it and then we pass it on. What we have to do generation
after generation is to try to be true to Hermès and give it an expression
that is true to its time.
“It’s a bit of paradox, because you can say Hermès is timeless – I’ve
heard that many times – but what does it mean to be timeless? What is
timeless in 1960 doesn’t seem timeless in 1999 and won’t seem timeless
in 2020. Creativity always emerges out of a context, which is a historical
and cultural context. We cannot deny that. We are part of our time. We
are serving values that are timeless. That is the recipe for Hermès: to be
true to its values and true to its context and not deny the context.
It would be impossible, in fact.”
He adds: “You are who you are and I am who I am today in this world.
Had we been born in this world 500 years ago we would be having a
conversation in Florence about art, we would be dressed differently.
We all live on this spaceship, by the way. It’s called Earth. We’re
travelling all the time, but we forget about it. Isn’t that strange?”
One of his first tangible memories of Hermès is of a small red and
white rocket, which he shows me. “I really see Hermès as this rocket
ship. It’s also a beautiful design. I like the idea that Hermès is not just a
house sitting on its roots, it’s a moving object because we are literally
moving, expanding all the time.
“Also, it’s unbelievable that after six generations we still have this
company in our family. It also means generation after generation at the
helm of that spaceship. I saw my grandfather leave, my father leave.
I know I’m here for a certain amount of time. My concern is in passing
over all the knowledge I’ve accumulated and then being surprised by
the next generation. I have no idea who will we pass on to. I am not
working alone. It’s a question I ask. I think we all have to ask ourselves,
because we are a depository of a certain culture and part of the Hermès
culture is based on experience and all the stories we tell each other. I do
think Hermès, beyond what we make and what brings pleasure to our
clients, is an example, a case study, of a human organisation that has arbitrary with Hermès. You will find a certain pattern that is the result
very strong universal values. We are a successful, visionary, human of a discussion of a certain idea and it is right.”
project. That’s what I like about Hermès: our ability to adapt and change He taps his chest. “My space is right here, in me. I always ask myself:
and reinvent ourselves. At Hermès when I was a child, everything was ‘Where is the centre of myself?’ We could feel that the centre is linked to
above the store. It was a small house and it’s changed so much in 30 vision. So somewhere here between your two eyes and a little bit above
years. Crazy. I hope we haven’t changed our nature, but it shows we can your forehead seems to be my point of view, my centre. But then I think:
adapt. How can I not be an optimist?” ‘Hold on, my toe in my left foot is also here. Maybe this vision, this point
Undeniably, a lot of Dumas’s work is based on intuition. “But then you of view is taking over too much importance.’ You need to think of your
have to think about what you’re feeling, especially as a creative director. body because it’s the silent partner, the brave, loyal friend that follows
I have to not think but feel and then think about what I feel and try to us. So if we ignore the horse, one day it kicks us back. So my centre is
be constructive because the idea is not to really my body as a whole. I feel that.
break but to improve. Like a sphere. Where do I feel the most
“I am only working on trying to make centred or the more rooted? I have a few
product but I’m always looking at the places. It’s funny because Hermès is
negative space. The cognitive part of really spread around the world, but
the brain is always looking for meaning. whenever I go over to the store there’s
If you write a word you will read that something there. It literally takes my
word. I’m interested in what is around guts. I feel the roots, like a huge old tree.
that word; what that word doesn’t say. It’s physical. I go back over and over
That word will say something. So what again. I don’t have the same feeling
has not been said? And physically, in that when I come in this building, which
negative space, the Native American [on I love. I work very comfortably in the
the scarf] you’re wearing is a figure, but heart of Paris but if I walk into the store
what balances that figure is the space it takes something. But if I go abroad and
around him. Because this is what you visit an Hermès store it feels like home.”
don’t see but gives flesh and shape to Dumas has never visited Australia,
your ideas. That is fundamental in but wants to. “We worked with an
design. What is unseen. What is there, Aboriginal artist, Gloria Petyarre. It was
but not perceived.” a great experience and the greatest
He explains. “Before you came I was reward I got was when we sent her the
Hermès Pani La Shar Pawnee scarf.
finishing the development of a great scarf. I have the picture in the studio of
table set. I’m very excited for several her and her granddaughters all wearing
reasons. Firstly, the person that I asked to “The absence of light is the Rêve de Gloria Hermès scarves. It’s
make the design … no-one at Hermès very sweet. So there is a connection there.
had thought of asking him. Secondly, it
what gives light its reason of There is a long connection between
has been a long process to find the right being. You cannot separate Hermès and Australia. I know that the
scale of drawing and because it’s an black from white … they are moment I go to Australia and I go to the
abstract pattern and it’s very poetic – the store I will feel connected.”
rhythm, colours and scale. Finally, this
intimately connected” He says he also has a strong connection
morning, I had the whole collection on to the sea. “It’s one place I feel at home,
the table on paper and it was just perfect. Absolutely perfect. It’s the which strangely, took me years to find. I’m half Greek and so maybe it’s
result of a lot of talks. Everything I told you before, it applies there my Greek blood. I’m very wary of the sea and the wind. It’s a humbling
because I don’t just look at the patterns, I look at the whole collection at experience. We’ve all been through storms.”
a glance. You have plates but you have the coffee mugs and the teapot We have been talking for 55 minutes, so it is time for him to go for lunch.
and how everything relates to each other because the detail has to “I talked to you a lot about my work experiences … it’s ephemeral but it’s
reflect the whole and the whole has to be balanced. Nothing must still real. My office, I love it. I think a lot about what is on the wall and
unbalance. If it takes too much weight, if the plate is beautiful but the the purpose of art is to stimulate our imagination.” Dumas does that.
rest is lower, it will sink. You don’t see it when you look at the plate, but And so I leave the headquarters and walk to the store where it all
it’s there. When you look at the rhythm of the colours and lines on the started – 24, Faubourg Saint-Honoré – and almost immediately find a
plate, it is a circle with a large surface … how does it interact with that scarf printed with spaceships hovering over the store and with beams
shape and the balance between the marks and the absence of marks? It’s of light either sucking up the orange-boxed goodies or possibly sending
very concrete for me. It is physical, if you want, because it applies to them scattering down to Earth. ‘Space shopping’, open to interpretation,
how you interact with the world, but it’s also very practical, because is what I think Dumas would call it. I purchase – pleasure, desire. And
I apply all these ideas every day in a very practical way on patterns, on it feels good.
objects, which will have a life of their own. This is why nothing is Hermès At Work is on from March 8 to 17 at the Melbourne Town Hall.

MARCH 2018 171

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JAKE TERREY

1 74
 T
here aren’t many places to see the stars in India. Instead, you’re clamped
under a sticky haze between dust and photosphere. Here, existential
daydreams are interrupted by incessant beeping; rogue animals coughing up
garbage; children yelling “Selfie?” (meaning “photo?”); and flashes of fuchsia,
marigold and emerald. With a population of over 1.3 billion, you don’t need the cosmos
to remind you we’re all made of stardust, heartbeats and sweat: India does it for you.
Perhaps this explains why when we talk about the poverty it seems … too hard. If
your NGO donation isn’t visible on a global scale, did you even donate? A dire
misconception. “India was a place I had always wanted to visit,” muses Jessica
Gomes, model, actress, founder of skincare brand Equal Beauty and World Vision
ambassador. “I’d had my first taste of World Vision’s work almost four years ago in
Peru, but India was close to my heart.” It’s important for Gomes to see it in action.
And so here we are, rattling through the streets of Rajasthan in western India.
Our journey takes us first to a Jaipur slum to visit a school helping primary school-
aged dropouts (ex-rag pickers) bridge the gap. We pass homes built wildly ad-hoc from
scrap metal, cement and Styrofoam. Despite the filth, the residents are pristine and
proud; desolation is juxtaposed with hope and colour. We’re greeted by a flurry of
dance; glittery-eyed children clamour to show Gomes their books. Science, Hindi,
English, maths, singing, drawing: we’re in the company of tomorrow’s doctors,
teachers, cricketers, police and nurses. Gomes asks a nervous girl, who, like many
we’ll meet, appears much smaller and underdeveloped than her calendar years, her
favourite song. With a smile, she sings, bringing almost everyone to tears. “I cannot
believe the confidence these children have,” whispers Gomes. Nobody would.
According to a survey of 45,844 Indian children aged 12 to 18, one in two has been a
victim of sexual abuse. Child Protection Units (CPUs) are centres built by World Vision
and run by locals. A safe space, these hubs offer social monitoring and encourage
children to leave the house. Here, little girls’ birthdays are celebrated (dowry payments
mean daughters are rarely praised and even killed at birth), and children are taught
how to gather evidence in the event of abuse. “This work is giving children the tools to
protect themselves and be independent,” praises Gomes. “It gives them a voice.” The
presence of NGOs has inspired locals to form their own charities; a women’s self-help
group who’ve started a girl-gang trust for community emergencies, for example.
When given the right tools, the can-do attitude of India is admirable.
We meet a woman whose then nine-year-old daughter was sexually abused two
years ago. “We almost gave up,” she says. “It was only when the CPU helped did we
get justice.” What has this incident changed? Shaking, she tearfully looks to the
ground. “My daughter had no value. I didn’t think to protect her … I didn’t know.”
The tragedy is multifaceted. On one hand, we have the fear the child lived in and the
courage it took to seek help. On the other, the weight this mother will carry forever,
Clockwise from top the unimaginable guilt of allowing your child to drift into harm’s way.
left: Gomes visiting
an Anganwadi (a Through the desert we arrive in Barmer, near the Pakistan border. World Vision has
community centre for been here since 2010, currently with a staff of nine. Needs are heartbreakingly basic:
women and children) female villagers trek for hours to find a private place to defecate (consequentially,
in Barmer, near the
Pakistan border; the many are raped, abused or die of UTIs), a single hospital services 45 villages (almost
view over Jaipur, the 30,000 people). Then there’s the weighty statistic that 48 out of every 100 children in
capital of the Indian
state of Rajasthan, from
rural India are malnourished, with one dying every day. “It makes you value simple
Nahargarh Fort; Gomes things,” notes Gomes. “Infant nutrition, sanitation or just how a concrete toilet can
inside one of the rooms keep a family safe.” The school is a dusty block void of much other than desks and
of Nahargarh Fort;
visiting a primary school faded posters. Just four teachers look over 200 beaming cricket fans and dancers.
in Barmer; on the streets “The mother in Jaipur told me I remind her of her daughter,” Gomes says later. “I had
of Barmer; women of an out-of-body experience, I felt like that little girl for a second. I’m no different, just
a Barmer Anganwadi
teaching Gomes how born in a luckier country. We all have that scared little girl inside us, and to feel like you
to carry water; children have no protection? No child should feel that.” I recently learned that naraka, the
playing in the streets
of Jaipur, outside
Sanskrit word for hell, literally translates to “of man”, and India, with all its wonder, is
one of the many Child perforated with man-made living hells like poor education and sexual abuse. The first
Protection Units. world has long visited India to seek a cliched spiritual change; relying on the country
Centre: young dancers
perform a traditional to say the same. India has the will to change itself, it just needs better tools.
dance in a Jaipur slum. To learn more about World Vision’s work, go to www.worldvision.com.au.

M A R C H 2018 175
 A FINE ART
Giorgio Armani Beauty has launched a new campaign #MyLuminousSilkLook
to highlight the brand’s global beauty favourite Luminous Silk Foundation. Here, three
local make-up artists share their signature looks using the iconic foundation.
 METAL METAL
Your eyes are your best
canvas for metallic swatches
that follow no rule book.
Bobbi Brown Metallic Eye
Shadow in Champagne Quartz,
$42. Nars Velvet Shadow Stick
in Oaxaca, $41. Tom Ford Lip
Color Sheer in Paradiso, $70.
Max Factor Healthy Skin
Harmony Miracle Foundation in
Beige, $37. Wasson earrings.
H A R : K E N S H N A S A N O M A N C U R E : K YO O K A DA M O D E L : VA L E R Y K A U F F M A N
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

M A R C H 2018 179
 STREET CRED
Forget painstakingly
impeccable liner: the
beauty of graffiti
application is in its
imperfections.
Diorshow Art Pen Felt Tip
Eyeliner in Noir Podium,
$59. Hourglass Arch Brow
Volumizing Fiber Gel in
Warm Brunette, $41.
Clarins Moisture
Replenishing Lip Balm, $32.
Vintage gloves, from New
York Vintage.
NAGI SAK AI

M A R C H 2018 181
VOGUE BE AUT Y

PRIMARY
CAUSE
If it’s not cobalt blue,
shiny and dramatically
stamped over the
entire lids, then it’s
playing it safe.
M.A.C Eye Shadow in
In The Shadows, $33.
Giorgio Armani Ecstasy
Shine Lip Cream
in Sand, $56.
Vintage earrings, from
New York Vintage.
Stylist’s own sweater.

NAGI SAK AI

182
 LOW RIDER
Punctuate lashes – even
the often forgotten
lower ones – with a
liberal coat of mascara
and hand-drawn lines.
Bourjois Ombré Smoky
Eyeshadow & Liner in
Black, $24. Gigi Hadid x
Maybelline Wing
Mascara, $23. Clinique
Quickliner for Eyes in
Really Black, $34.
Vittorio St. Angelo
jacket. Calvin Klein top.
Jennifer Fisher earrings.
VOGUE BE AUT Y

CLOSE UP

2.

ART DIREC TION D IJANA MAD D I SO N

PHOTOG R APH EDWAR D U R RUTIA
7.

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
WORDS: REMY R PPON

184 MARCH 2018

VOGUE BE AUT Y
TREND Basic knowledge
If there’s one thing every make-up artist
CLEAN
agrees on, it’s that the best looks start
with a flawless base. But that doesn’t
mean resorting to layers of products.
SLATE
At Prada this season, Pat McGrath,
the godmother of backstage face paint,
prepped models’ skin with humble
As backstage beauty moisturiser and concealed “only where
trends become needed”, leaving skin that looked like,
increasingly experimental, well, skin. At Zero + Maria Cornejo,
the simple things Dick Page showed similar restraint by
creating bare but ultimately glowing
flawless skin, pillowy lips,
complexions, “doing as little as
healthy hair have an
possible in a very realistic way”.
allure of their own.
By Remy Rippon. Get balmy
While Dolce & Gabbana’s enduring love
affair with a crimson pout isn’t waning,
a raft of shows made a strong case for
lips in their natural state. Master of
minimalism Peter Philips served up
youthful pouts at Dior using just “a little
bit of Lip Glow to moisturise the lips”.
At J.W. Anderson, the focus was on
preparation, which started with a buff
and polish. “We got all the dead skin
off their lips and we used a little facial
scrub. There are millions of lip balms
you can put on … and then we just use
a Q-tip and wipe it all off,” said make-up
artist Mark Carrasquillo.
In the nude
Swap out summer brights for the new
nude nail colour: the one that perfectly
matches your individual skin tone. Not
Backstage At Stella
at Altuzarra. McCartney.
186
1.
only does it give the illusion of longer
fingers, it whispers of understated
elegance. The catch? Colour-matching 2.
your exact skin tone can be a lesson
in mixology. “In my kit have several
hundred nudes and I never have
the right one. I always have to mix,”
says manicurist Marian Newman of
the flesh-toned nails she created
at Teatum Jones.
Au natural 4.
“A lot of the girls were actually cast for
their hair,” says James Pecis backstage
at Simone Rocha, where a sea of waves
and natural texture dominated. “We are
using a texturising dust – Swept Up by
Oribe – just to give it a little bit more 6.
of an airiness and a texture in the
flyaways.” Forgo tools and find your
hero product – an oil, mask, salt spray –
that dials up your natural state, rather
than disguising it.
Get good brows 1. Bourjois Brow
Pomade in Châtain, $23.
The best way to offset the dramatic 2. La Prairie White
looks for the season (think artful graffiti Caviar Crème
Extraordinaire, $895.
liner, or ketchup-hued lips) is with 3. Chanel Le Correcteur
perfectly imperfect brows. At Balmain De Chanel concealer in
and Givenchy, where structured brows Beige, $60. 4. Redken
No Blow Dry Bossy
usually take centre stage, make-up Cream, $35. 5. Nude By
artists opted to do nothing but brush Nature Sheer Glow BB
the hairs north for a dishevelled effect. Cream in Nude Beige,
$30. 6. Dior Addict Lip
At Maison Margiela, dramatic pink lips Glow Color Reviver
were toughened up by strong brows. Balm in Ultra Pink, $49.
7. Clinique Pep Start
Céline, Victoria Beckham and Antonio Double Bubble
Berardi followed suit. Purifying Mask, $52.
At Simone At Burberry.
Rocha.
A L L P R C E S A P P R OX I M AT E D E TA L S AT V O G U E . CO M . A U/ W T B
N D G TA L E D WA R D U R R U T A
MARCH 2018
Emma’s edit.
VOGUE BE AUT Y

J U CO P H OTO

188
T
he first four words of Maye Musk’s Instagram profile are
‘model for five decades’. Despite being recently tapped as the
latest (and oldest) face of beauty heavyweight CoverGirl, a
highlight of the past year on par with the 69-year-old being booked for
Swarovski’s holiday campaign alongside modelling royalty Karlie Kloss
and Naomi Campbell, it is clear that she is by no means new to this.
“The assumption is that you’re pretty much done by 20,” says the
Canadian-born sexagenarian over the phone from Los Angeles, where
she is now based. “I model with so many young models and they feel
like they’re nearly done and then they meet me and they say: ‘Oh, I can’t
believe it, there’s hope for us.’”
In a life lived in three countries (South Africa, Canada, the US) – with
three degrees (including a masters of dietetics and a master of science),
her own nutrition business, a marriage, a divorce, three children and 10
grandchildren – modelling has remained a constant. And contrary to the
norm for most models, Musk’s popularity continued to
climb as her age did. “I would model when they wanted
me, and as I got older they wanted an older model. I was RATHER THAN
quite willing to be mother of the bride at 28. I was quite BRUSH OVER
happy to be on the cover of a grandparents’ magazine at HER AGE, MUSK
42; I have no ego about that,” she says in a strong South
African accent, simultaneously warm and matter of fact.
WEARS IT AS
“To me that was work, and if I got paid for it I was happy.” A BADGE
If there was a pivot point, it is perhaps this: for her OF HONOUR
60th birthday, Musk quit colouring her naturally white,
shoulder-length hair and lopped it into a stylish crop.
Canada, where she sat exams to be recognised as a dietitian (in 2006 she
won the Outstanding Nutrition Entrepreneur Award). She affectionately
dubs modelling the “frills on top”– the “fun” job she relished to pad out
her bank balance while she pursued nutrition and raised her young
brood. “I needed a steady income, my bread and butter, which was the
nutrition, and then I had the modelling. If I had a modelling job and
then it became a poster, it meant that my kids and I could have turkey
for Christmas dinner, otherwise we had chicken,” says the grandmother
of 10, bemused by the fact that modelling continues to follow her.
Rather than brush over her age, Musk wears it as a badge of honour.
And rightly so. A handful of times throughout the interview she gleefully
states that she’s “nearly 70”, and her preferred hashtags on Instagram are
#justgettingstarted and #grandmother. Likewise, she praises the fact that
CoverGirl cherry-picked her to showcase beauty at an age that’s typically
under-represented through beauty advertising campaigns. “I think
they’re doing a fabulous job, because there’s real diversity
in the women they’ve chosen for this campaign and I’m
just so happy to represent the older women.”
Her desire to represent a new definition of ageing
surpasses her humbleness, and, to that end, she has
lofty plans for the year ahead. “I’d like to model around
the world and show that women at 70 are fashionable,
confident and happy about themselves, and to
encourage women to be more confident and successful.
Last year was really good, but this year will be even
bigger.” #justgettingstarted … ■

She soon landed a bevy of campaigns (including one for Target, which
featured a gigantic billboard in Times Square, no less), New York
magazine and Time covers, and even an appearance in Beyoncé’s 2013
video for Haunted (“I was a white ghost; they put make-up on my face
which was blotchy, but I didn’t care, I had this magnificent haute
couture gown,” she says, chuckling). Her now synonymous strands are
usually swept straight back, giving her an impressive allure that almost
contradicts her affability. Her exquisite bone structure seems to defy
gravity and her eyes sparkle a deep sapphire. Whether it’s her enviable
posture or beaming smile, there’s a definite air of grandeur about Musk
that is enhanced by her affection and kindness; the type of woman you
might admire in a hotel lobby.
Born in Canada, Musk’s family uprooted to South Africa’s Pretoria
when she was two. Her parents (her father a chiropractor and her mother
a dance teacher) were adventurers and flew a single-engine plane on a
48,000-kilometre journey to Australia via the African coast. (“They had
a map and they used a compass, can you imagine? I’m horrified when
I think about it: they would fly low to read street signs,” she says in
disbelief.) Musk has three children: Elon, the now 46-year-old CEO of
Tesla and one of the most celebrated entrepreneurs of our time; Kimbal,
who owns a handful of companies and is an avid campaigner on food and
sustainability; and her daughter Tosca, a talented filmmaker and founder
of Passionflix – a Netflix of sorts for the romance genre. Like most mothers,
Musk is quick to praise all of her children for their entrepreneurial success
– the smile in her voice when she speaks of them reverberates through the
phone line – but it’s her eldest who attracts the most attention. “If
somebody says: ‘That’s Elon’s mum’, which happens quite a bit, they are
usually stunned, sometimes they cry. I’m flattered because, I mean to
them, he’s saving the world, they just feel he’s the only hope,” says Musk
of her son’s growing fan base.
It’s plain to see where her children inherited their entrepreneurial
spirit. After she divorced in 1979, Musk moved back to her native

M A R C H 2018 189
Emma’s edit.
VOGUE BE AUT Y

and wacky than I am, and she pushes me to experiment with more exciting colours.

Beauty to me
Actor and activist Emma Watson has worked with
beauty products since starring in Harry Potter.
Here, she shares her natural beauty routine.
She was the reason I started wearing a matte orangey red colour on my lips.
It’s really intriguing how beauty changes depending on where you go. When I was in
Japan they wanted to apply blusher to my earlobes and a lot to my cheeks, because
blushing is a sign of beauty. In the early days of Harry Potter, I always wanted to look
like an American movie star who lived in Los Angeles so, of course, this involved fake

I
tan. I remember arriving in Japan for a press tour and asking where I could buy fake tan
started having my hair and make-up done when I was and they literally looked at me like I was insane. I find these things humorous and
nine years old, which is pretty unusual. For the first two important … Beauty is a construct and we know this because it is constructed
Harry Potter films, we had a lot of make-up, but then when differently all over the world. I think realisations like this made me take the whole
I worked with Alfonso (Cuarón) he didn’t want to cover up thing a lot less seriously.
any teenage spots. My mum has been really instrumental in teaching me about make-up, because she
I had terrible acne during the fourth Harry Potter film doesn’t follow any beauty rules. She will put lipstick on her cheeks and use eyeliner
and I would take my make-up off at night and my skin on her lips. Some days she will wear make-up if she feels like it, but she feels equally
would be so sore. I think being under lights, sweating in beautiful with nothing on at all. I love the variation. It is just fun to her. I still often
make-up every day, and the stress was really tough on use whatever I put on my lips on my cheeks, and I often don’t wear any make-up at
my skin. That was the moment I really learned to value my all, and that’s from my mum. Mostly, I think that perfection as a word or idea should
skin and really take care of it. be avoided in general … the best version of yourself on a particular day? That’s a
It’s actually made me wear less make-up now, be more better way to sum it up.
conscious about what I’m putting on my skin and to
appreciate when my skin was good again.
If I have to sit still for a long time before something that
makes me nervous, it just makes we more nervous. So I try
EMMA’S NATURAL
to keep my mind busy and be disciplined about reading a BEAUTY PICKS
book, listening to an audio book or meditating.
Recently, I tried a float tank, which sounded insane to me, E V E R Y D AY M A K E - U P
but I actually loved it. I go on meditation retreats and it’s RMS Beauty “Un” Cover-Up
great for me, but to find time on a daily basis to do it when RMS Beauty “Un” Powder 2.
you live in a busy city, with the phone ringing and your cat
trying to crawl all over you, isn’t always the easiest. The float LIPS
tank provided a specific place for meditation, which I think RMS Beauty Wild With Desire Lipstick
is really helpful. Inika Certified Organic Vegan Lipstick
Product-wise, recently I’ve been in LA a lot, so I’ve been Ilia Lipstick
trying Jenette Serrins at Being in LA. I love that I get to use Suvana Certified Organic Paw Paw
products that say things like ‘be happy!’ and ‘be calm’! In & Honey Balm
LA, the sun is out every day, so I wear Coola Mineral Face
SPF30 Cucumber Matte Finish. I like that it uses a mineral HAIR
rather that synthetic sunscreen. In cold months, I use Vita Rahua Voluminous Dry Shampoo
Liberata Trystal Self Tanning Bronzing Minerals, which John Masters Organics Hair Spray
gradually tans as you wear them. When I’m out in the sun, I
try to wear a hat and limit my exposure. If I catch the sun B O DY
I use MV Skincare Rose Plus Booster – it’s great for when French Girl Sea Soak and Sea Polish
skin is tender or inflamed from sunburn. C.O Bigelow bath soak
I’m still using my The Body Shop Red Pomegranate Lip 4. 5.

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
and Cheek Stain. It’s not entirely natural but I like that SKINCARE
founder Anita Roddick started numerous initiatives Évolué Resurfacing Grains
within the industry, including a global campaign tackling MV Organic Skincare Rose Soothing
the media stereotyping of women and pioneering a ‘Trade & Protective Moisturiser
Not Aid’ program. And I’ve recently become obsessed
with French Girl Le Lip Tint in Ambre Noire. S E L F - TA N
Since I had my fringe cut I’ve had to start using styling Vita Liberata Trystal Self Tanning
products. My fringe has an annoying tendency to sort of Bronzing Minerals
E D WA R D U R R U T A

swing up on one side, so I’ve been using the Josh Rosebrook

1. RMS Beauty “Un” Powder, $49. 2. Ilia Satin Cream
Styling Cream and Lift Hair Texture & Volume. Love, $35. 3. RMS Beauty “Un” Cover Up in 22, $52. 4 sh
I’m usually the person my friends ask about new in Menthe/Romarin, $56. 5. French Girl Sea Soak in Rose
products. I do have a friend who is a bit more experimental All beauty products verified by Content Beauty & Wellbe g

190 M A R C H 2018 190

VOGUE HE A LTH

The kindness
economy
Humans are hardwired to help each
other, and kindness is the key to health,
happiness and longevity, reports Jody Scott.
ILLUSTR ATION HAN NA BARCZ YK

S
ometimes keeping up to date with the la
superfoods, health fads and workouts can m
wellness feel like hard work. But what if
healthiest habit of all boiled down to just two tiny wor
Be kind.
The trillion-dollar wellness industry trades on
universal desire to be our best selves and get more ou
life. Yet in recent times, those worthy goals have b
overshadowed by unhealthy food obsessions, o
exercising, unrealistic body shapes and horrible hasht
like #thighgap on social media.
But things are looking brighter. The wellness revolu
appears to be shifting into a kinder, more altruistic,
narcissistic gear. Priorities are moving beyond pu
personal goals, smoothie bowls and sweaty selfies. Be
well now means taking care of other people and the pla
as well as we take care of ourselves.
The new wave of female empowerment is just
example of the ‘we-’ rather than ‘me-first’ emerging mo
It favours cooperation over competition and altruism o
individualism. It is cool to be kind right now.
And there is mounting scientific evidence to sug
cultivating kindness could be as important to our wellbe
and longevity as exercising and eating our greens.
Little acts of kindness are emerging as antidotes to
unprecedented rate of technological change, internatio
political uncertainty, global warming, terrorism, econo
insecurity, a loss of faith in big business and o
institutions, gender inequity, rising anxiety, digital addict
cyber-bullying, relentless self-promotion and narcissism.
While we can’t always change the big (often scary) The race is on to win consumer trust as we use our purchasing power to support
picture (at least not in the short term), we can control the brands that are ethical, sustainable, authentic and transparent about their
little things, starting with how we treat our friends, family, ingredients, supply chains and environmental footprints.
neighbours, community, work colleagues and environment. “Many of us want to direct our spending towards businesses (read people) that
Small choices can lead to big changes. stand for something good, and have taken the effort to engineer their business
Hence the rise of kind initiatives such as mobile apps around a grander cause,” says Seb Berry, co-founder of FutureKind, a Sydney-based
and websites to enable digital do-gooding, fundraising brand and media agency that works with companies making a difference.
platforms and anti-bullying and kindness campaigns Soul Safari, a collective founded by New York-based Australian creative Vanessa
including 52 Lives, a global charity that aims to change Holden, is on a similar mission to “mobilise a global tribe of makers and
a life a week. change makers”.
Conscious consumption – led by digitally vocal “Handcraft is a key driver of social and economic stability locally and globally,”
millennials – is rapidly disrupting the way companies do says Holden. “When we buy handmade goods, at home or abroad, we support these
business in almost every category, from fashion and beauty makers and the families and the communities they live in – bringing food, healthcare,
to food, beverage and travel as they scramble to clean up literacy programs, and a self-assurance and empowerment that comes from quite
their credentials. literally being able to make your own future with your own two hands.”

192
 Holden says the consumer choices we make every day are the most powerful
things we can do to create better futures for ourselves, those close to us and the
global community.
“The most reliable way to predict the future is to create it,” says Holden. “If we
want a kinder future, make kind choices. A better future? Kinder, smarter and more
sustainable choices. It’s that simple.”
Meanwhile, ‘up lit’, aka books that tell optimistic and uplifting tales about human
connection, everyday heroism and empathy, is the hot new literary genre. Meeting
up in real-life is also making a comeback as we become woke to the meaninglessness
of most online interactions.
Kindness and positive psychology are also trending in classrooms. “We are
placing more emphasis on teaching our children to be kind,” says Dr Ali Walker, a
social researcher and author of Get Conscious: How to Stop Overthinking & Come Alive.
“In the 80s and 90s, the emphasis was on helping your children be extraordinary and
achieving more than others,” she says. “Now we are teaching children to be
empathetic and kind and mindful of others. It is a values shift from achievement
to togetherness.”
Dr Walker says research has shown a strong link between our happiness levels
and the quality of our relationships. “So if you want your child to be happy, you have
to teach them how to have good relationships,” she says.
Science is also proving humans are biologically hardwired to be kind and
compassionate. We need each other. And there is a direct link between our physical
health and our human connections.
Numerous studies show when we are kind to others, we activate the reward
centres of our brains, create new neural pathways, lower levels of the stress hormone
cortisol, boost immunity and secrete feelgood brain chemicals including dopamine,
serotonin, oxytocin and endorphins, triggering a warm glow or ‘helper’s high’.
Along with providing a mental boost, these neurotransmitters have physical
health benefits. Dopamine is connected with memory, focus and motivation.
Oxytocin, the love hormone, boosts self-esteem and optimism, soothes anxiety and
protects heart health by lowering blood pressure. Serotonin is calming, wound-
healing and makes us feel happier. Endorphins also make us happy and help reduce
chronic pain.
Helping, sharing, volunteering and donating make us feel stronger, calmer, more
energetic, less depressed, more satisfied and lengthen our life. We feel better about
ourselves when we are doing good for others.
Some simple ways to start being kind include saying hi to our neighbours, smiling
at (or at least making eye contact with) strangers, giving to charity, shouting the
person behind you in the coffee queue, being better listeners, volunteering, donating
blood or joining a community group.
Even imagining ourselves doing something kind has been shown to activate parts
of the brains that regulate our emotions. But a 2010 Harvard Business School survey
of happiness in 136 countries found people who were financially generous were the
happiest overall.
Research has also found kindness and generosity are the most important
predictors of marriage satisfaction and stability. However, people who are mean to
their partners kill the relationship.
Acting generously towards our work colleagues creates a ripple effect in the office,
because when someone is kind to us we are likely to return the favour. Plus, it’s been
proven that people who witness a kind act experience an uplift in their own mood
and are more likely to pay it forward, too. Kindness is contagious.
Other studies suggest a strong link between kindness and healing, making it
important to seek out a doctor with a compassionate bedside manner.
If you would like to be kinder, try practicing mindfulness. One study suggests
being mindful increases the intensity and frequency of positive and pro-social
emotions, including empathy, kindness and compassion, we feel towards ourselves
“The most
reliable way
to predict the
future is to
create it. If we
want a kinder
future, make
kind choices …
it’s that simple”
and others. The Buddhist practice of loving-kindness
meditations (LKM) – which involves silently sending
goodwill and warm wishes to others – is also believed to
boost these positive emotions.
Mindfulness is also linked to greater emotional
wellbeing and tolerance plus less rumination (revisiting
negative thoughts or holding grudges). It has also been
shown to lower blood pressure and oxidative stress
associated with ageing, protect heart health and
regulate telomerase (an enzyme that influences our rate of
cellular ageing).
While Australian-born, London-based wellness pioneer
James Duigan has been whipping celebrities including Rita
Ora, Rosie Huntington-Whiteley, Lara Stone and Elle
Macpherson into shape for almost 20 years, he would
prefer to be known as a kindness crusader.
The words ‘be kind to yourself’ are carved in stone
outside his Bodyism headquarters in London. And Duigan
is adamant nothing shapes bodies faster than practicing
self-love, which in turn has a positive effect on how we
move, eat, think and sleep.
“Kindness is king and love always wins,” says Duigan.
“When people start to treat themselves kindly everything
becomes easy. Diets don’t work.”
Duigan says being kind to ourselves is a three-step
process based on thoughts, words and actions.
Thoughts: be aware of your thoughts and drop those that
don’t serve you well. Don’t compare yourself to ‘unhappy,
skinny people on Instagram’ or a famous celebrity who has
a whole team of people making them look that good.
Accept and forgive yourself for not being superhuman.
Words: choose your words carefully, don’t belittle
yourself, think before you speak and don’t shy away from
voicing your point of view.
Action: choose foods that nourish you and make you feel
good, move often and ditch your phone as often as possible.
“Any change that happens in the body happens in the
mind first,” says Duigan. “I do think people are ready to
hear that. You are your own guru. Question everything.
Don’t trust experts, trust yourself. Ask yourself: ‘What is
going to make me happy?’”
Then ask: “What can I do to make others happy too?”
Remember, we are all in this together. ■
M A R C H 2018 193
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“Now is the
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Prize winner
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EMMA
WAT S O N CATE
Photographed by
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Saving the Great
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ORMOND
Ten years of
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M C CARTNEY
Pioneering
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MAYE MUSK
The beauty
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C a u s e
& e f f e c t
S t y l e d b y H a n n e s H e t t a .

P h o t o g r a p h e d b y

P e t e r L i n d b e r g h .

Kwaidan Editions coat, $5,515. All prices approximate; details at Vogue.com.au/WTB.

M A R C H 2018 203
 PETER LINDBERGH

Filippa K. jacket, $810. Vintage Jil Sander top. R.E.V by Rêve En Vert leggings, $269.
 PETER LINDBERGH

Vintage Jil Sander top.

PETER LINDBERGH

Rosie Assoulin dress, $4,090. Vintage cap, from La Compagnie du Costume. Nisolo shoes, $175.
 “It is time to re-examine the
fashion industry and the
u r g e n c y f o r a h e a l t h i e r, m o re
responsible system”
PETER LINDBERGH

Vintage Comme des Garçons shirt.

Vintage Comme des Garçons shirt. Emilia Wickstead skirt, P.O.A. Vintage military boots, from La Compagnie du Costume.
PETER LINDBERGH

Rosie Assoulin dress, $4,090. Vintage cap, from La Compagnie du Costume. Nisolo shoes, $175.
 Rosie Assoulin dress, $4,090. Vintage cap, from La Compagnie du Costume.
PETER LINDBERGH
Vintage Jil Sander top. R.E.V by Rêve En Vert leggings, $269.
PETER LINDBERGH

Vintage Comme des Garçons shirt. Emilia Wickstead skirt, $1,725. Vintage military boots, from La Compagnie du Costume.
 “ I t ’s n o t e n o u g h fo r m e
a n y m o re t h a t i t ’s a
beautiful piece – I want
to know who made it and
where it came from”
PETER LINDBERGH

Vintage Jil Sander top. Beauty note: Ilia Tinted Lip Conditioner in In Paradise.
 PETER LINDBERGH

Honest by Y Project shirt, $1,325. Vintage pants, from La Compagnie du Costume. Emma’s own shoes.
Kwaidan Editions coat, $5,515.
 PETER LINDBERGH

PYE shirt, $295. Vintage pants, from La Compagnie du Costume. Vintage Ann Demeulemeester headband. Vintage Helmut Lang neckpiece.
 “Given the polluting nature
of fashion, it is imperative
we address our influence
as consumers and the
impact of the industry in
its current wasteful state”
PETER LINDBERGH

Gabriela Hearst jacket, $5,035. Vintage cap, from La Compagnie du Costume. Emma’s own shoes.
Vintage Comme des Garçons shirt.
PETER LINDBERGH

PYE shirt, $295. Vintage pants, from La Compagnie du Costume. Vintage Helmut Lang neckpiece. Mme A-S Dåvik ring, $675.
 “I want to look good,
feel good and do good.
That, to me, is luxury”

Nanushka dress, $615. Emma’s own necklace.

Hair: Odile Gilbert
Make-up: Stephane Marais
Manicure: Anatole Rainey
Set design: Jean-Hugues de Chatillon
For this feature, Vogue Australia and Emma Watson partnered
with Good On You to ensure the brands recommended meet
PETER LINDBERGH

a robust standard of sustainability and ethics.

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Emma’s edit.
Emma Watson: “Thank you for doing this; I’m sure
you’ve got a million things to do and essays to hand in.”
Malala Yousafzai: “No worries! Thank you for asking
me and I’m really happy to do this. Also, I just followed the
news about [the] Golden Globes and it was amazing, seeing
all these women coming together, and it is just incredible,
and you can see the change. You can actually witness it,
it’s there, it’s happening. I was so happy to see that and
thank you to you and all those other women who stood up.
It made me so happy.”
EW: “Oh, thank you, I really appreciate that. It really felt
that way in the room. You could feel the change. It was
remarkable, and Oprah’s speech was amazing.”
MY: “Yes, you know when you start watching a video and
watch it for two seconds and then – this was like, no, I can’t
stop, I have to finish it. It gives you goose bumps; tears
were coming to my eyes and I just thought: ‘Wow!’”
EW: “It felt like a really big moment. It really did. We’re
doing it, it’s happening, Malala! We are making progress,
we’re making small steps, but they’re steps, even in these
slightly difficult and trying times. Last night was very
heartening. I think you have to celebrate the wins at the
moment. We have to celebrate when we do make a win in
this climate. Today we are celebrating! So, you’ve recently
started university. Yay!”
MY: “Yes!”
EW: “How does studying at university compare to studying
at secondary or primary school for you?”
MY: “I think it’s completely different. Firstly, in primary
schools you have to go to school every day and there are
lessons, there is assigned homework, there is a teacher and
you have all this regular work going on. There’s a pattern
in it and it is a good way of learning, but when you come to
university it’s completely different because all your
teachers do is give you assignments and say: ‘Here’s the
work – here you go’, and the rest is up to you how you do it:
[whether] you want to go to the library and study books,
[whether] you want to go to lectures, [whether] you want to
do your own research … and I think it’s just incredible. It’s
really a time for you to manage your time; you are making
constant decisions like: how should I spend my next hour?
Should I go to a library? Should I go to a talk? Should I do
something else? And I think it’s really about spending
your time, really kind of equally. I think you’ll have done
MEETING OF M I N D S
Just a day after Emma Watson helped launch the #TimesUp campaign at the Golden Globes, the UN Women Global
Goodwill Ambassador and Brown University alumni spoke with Nobel Peace Prize winner Malala Yousafzai, currently
studying at Oxford University, about the importance of education.
232
that in university as well, you will have gone through it. How much time to spend
on parties? How much to spend on reading?”
EW: “Yes. Time management becomes even more important than it was at school,
because you just have so much you dictate and you are really in charge of your
education. It’s up to you.”
MY: “Yes.”
EW: “How does it feel to go to university knowing that you would be recognisable?
Was that a little nerve-wracking?”
MY: “Yes. I was nervous in the beginning and I was excited, but then I was as nervous
as I was excited and I was worried about how people would perceive me. How would
everyone react to the fact that I’m there, and would they consider me as a student or
how the media or the rest of the world has defined [me]. I just wanted to be a student,
and a friend, and I’m so happy that happened because when I came here I made
friends and I was going to lectures, doing my assignments and I was having tutorials
and it just all felt normal, like: ‘Yes, this is a student, uni life.’ And I was really happy
to see that.”
EW: “I’m really glad to hear that, I remember that as well. The first few weeks, you
know when everyone got used to seeing me for the first time – it was a nerve-
wracking time, but then once everyone gets used to seeing you around everyone
kind of forgets about it and you become like everyone else.
“So, I love this quote by Martin Luther King: ‘The function of education is to teach to
one, to think intensively and to think critically. Intelligence plus character – that is the
goal of true education.’ What is your vision of what a true education means to you?”
MY: “So, I’ve been thinking about this for a long time: what is education? And then
what it means for a person. And for me, education is important definitely, because
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girls’ education, and then one morning I wake up and I realise that I can’t go to
school. And I can clearly see that if I don’t go into that building, where I learn every
day, that is my school … if I don’t go to school and if I don’t complete my education
I will get married at an early age, I will have children, I will have grandchildren,
I will become a mother, grandmother, but I will not get the opportunity to be myself,
to be independent, to be making my own decisions, to be a woman.”
EW: “Yes!”
MY: “I used to look at it from that perspective and that was because I went through
that situation, but even in general, like, firstly it is an empowerment for women, it is
giving them independence, it is giving them a path to the future, but I am looking at
it from a perspective, from a point of view where I was one of those girls who could
not go to school. But also, in general, when I think about education I think it’s not just
learning a subject or getting information, it’s also about critical thinking and also
allowing you to question things – not only learning facts but it also makes you
question. I think this is something really important, we should be questioning
things. We should be talking about our society, whatever field this is, whether it’s
science or technology or social studies, it’s all about questioning things and learning,
and learning different perspectives and different views and that’s how I see
education. But also, this whole structure of schooling that
when you go there from age five, you sit together with all
your students and you’re learning together, you have a
teacher, and that whole environment really helps you grow
as an individual, and by the time when you are 18 and
you’re coming out of school you don’t realise, but if you
look back actually you have developed yourself – you have
developed your character, you have developed your
personality, you are somewhere on a way to finding how to
learn and what you want to do next in your life. So, it’s
really a phase of growing up and getting to know yourself.”
EW: “Yes, I completely agree, and I found certainly
studying in another country that wasn’t my country – so
studying in America – I was given a different perspective
on the world and on the things I had been taught at home.
There were parts of history that were unaccounted for in
my education before, and there’s a kind of questioning and
a kind of learning which is trusting what’s given to you
in a textbook, and then there’s a kind of learning which is
being your own kind of archaeologist of uncovering things
and finding multiple perspectives and sources on the same
thing and knowing that there’s a big wide world out there
with many different points of view.”
MY: “Yes.”
EW: “As I’ve got older this has been the part of my
education I’ve found the most interesting as well: knowing
it’s my job to find the truth, or it’s my job to interrogate and
be really critical and analytical about what I’m looking at.
I mean, it must be really interesting for you, living in
England now, having grown up in Pakistan, to see how
your country is perceived, how political events are
perceived from a different viewpoint.”
MY: “Yes.”
EW: “Do you think there are misconceptions within the
UK?”
MY: “I think there are misconceptions. I would not say that
everyone has those misconceptions but, in general, a
misconception that: ‘Oh, like in Pakistan and India women
would not have equal rights and that country would be far
behind.’ When actually, people don’t try to know the actual
life experience of people in that country; so you have a
generalised kind of view of the world. But I think the same
is true for Pakistan: they think the words ‘UK’ or ‘America’
and will say: ‘Well, it’s a perfect world and women are out
there on the boards and they are just working and doing
business and getting jobs and maybe there’s full equality.’
Which is not true! Now we are campaigning and #MeToo
and #TimesUp, and all these things are happening and
it’s just giving a message to the world that no, there are
challenges to women all across the world. In some places,
it’s like more extreme … it’s early child marriages, it’s child
labour, it’s sexual violence. In other parts, it’s not [as
extreme], it’s unequal pay, it’s just another discrimination.
So, these issues are present all around the world. I think
the most important thing is highlighting them, and in the
developing world, in Pakistan and India or in Africa, these
issues are kind of highlighted already, and in the western
“Women are world – so-called developed countries – these
issues are kind of getting attention now and
standing up: in people are realising that they exist. So, women
Pakistan you are facing challenges all across the globe and
will see these then, especially young girls, the first step to their
empowerment is education and in some countries
amazing they are even denied that right.”
women who EW: “I agree, and you and I have completely
are speaking different life experiences. We come from different
parts of the world and what you have gone
out, same in through is unimaginable, but we have both been
India, same in affected by gender inequality, and I feel our unity
Mexico … each and our sisterhood in that. And as you said, I think
there is a narrative that has been created that
and every day gender inequality and all this really bad stuff, it all
they’re happens over there and that we as a western
fighting” culture don’t need to analyse our own culture and
our own society as much, and I actually think that
narrative needs to be disrupted. I think that we
have an awful lot that we need to look at within our own culture.”
MY: “Women are standing up: in Pakistan you will see these amazing and incredible
women who are speaking out, same in India, same in Mexico or any country across
the world they’re standing up and they are speaking out and some have sacrificed
their whole life for that; each and every day they’re fighting.”
EW: “Yes, I completely agree with you – you cannot make these huge sweeping
generalisations about whole countries or whole land masses. Within every area
there’s going to be these more extreme pockets and areas, but I think within every
country there are amazing and empowered women who are doing exactly the same
work that we are and going through a lot of the same struggles. You know, I think
we have a lot more in common than we probably realise or like to acknowledge.
“So, it’s shocking that more than 130 million girls are still out of secondary school
today. What are the continued barriers to girls accessing education and how do you
think we can eradicate these?”
MY: “So, yes, more than 130 million girls are out of school right now and the reasons
why girls can’t access education vary from region to region, from country to
country, and they include issues like early child marriages or poverty or the social
norms and taboos, or religion, or the reasons for this, they vary. In one region, you’ll
ask a family why they are not sending their daughter to school and they will say it’s
because there is no school in this region, there is no school in this village. In another
place you’ll ask a family why they are not sending their daughter to school and they
would say the school is very far away and it’s only a boys’ school. And in some
places they would say: ‘We don’t have enough money to afford her uniform, her
books’, or that the girl is supposed to get married early and this is not her age to be
in school, or they don’t have enough money and she has to go and earn for the
family and she has to do child labour. So I think the issues vary, but the most
important thing is that we can solve it.”
EW: “Yes.”
MY: “We can solve it and we can make it a reality for all these 130 million girls to go
to school and to get their education, and for that the solution is simple. It is with
governments and all business people, and they have to invest in girls’ education.
We have to provide them with quality schools, they have to provide them with
the teachers, with the facilities, with computers, with all the things that they need
in order to get their quality education.”
EW: “One thing I was talking about last night is trying to explain to people how
chronically under-funded women’s organisations are – do you have thoughts on
why that is and how we can encourage people to donate to organisations that
specifically target and help women and girls?” ¤
M A R C H 2018 233
Emma’s edit.
MY: “I think oftentimes when we talk about
women and girls and their education, their
“When you
empowerment, their health, it’s very focussed on educate a girl
women and it does not really focus on the impact she is more
it has on society in general. Like, when you
educate a girl, how does it impact the whole
likely going to
society? So, when you educate a girl she is more have healthier
likely going to have healthier children, she herself children, more
is more likely to be healthy, she’s going to earn
higher wages, she’s going to contribute to the
likely to be
economy, she’s going to contribute to tackling healthy, she’s
climate change issues, she’s going to help the going to earn
whole country, and then maybe people will start
seeing it like: ‘Wow, if I educate a girl, if I help
higher wages,
a woman in her health, it’s going to impact me as she’s going to
well, it’s going to impact each and every one of contribute to
us.’ I think that’s when people will start realising.
Oftentimes when people ask me why is education
the economy”
important, I say: ‘You should not even be asking
me this. Education is important; all of you would be sending your children to school.’
Those who ask usually send their children to school; I have never seen someone who
would ask me in an interview and who wouldn’t have gone to school or wouldn’t be
sending their children to school. So education is important but sometimes, you know,
we explain all the advantages and benefits and yes, it’s clear there is evidence, there is
data that shows how investing in girls’ education is an investment in the whole
economy in the country, in society, not just in the one girl’s education.”
EW: “Yes, 100 per cent. It’s investing in the world we want to see happen.”
MY: “Yes.”
EW: “The future we want.
“In your work, you have met girls from all over the world. You have done an
astounding amount of travelling. How do their experiences of and attitudes to
education differ, and what similarities do you see in the aspirations of the girls that
you meet from all of these different places all over the world?”
MY: “I have been to the Middle East, I have been to Africa, I have visited Kenya,
I have been to Nigeria, I have been to Mexico, so I have met girls across the globe, and
one thing I have in common with these girls is passion for education. They want to
learn and they know that education is important for them. I have never met a single
girl who has ever told me that she doesn’t want to go to school. Every time I go,
every girl stands up and tells me education is important and that she believes this is
the only way towards her bright future. And after that I don’t need any more
explanation, because that girl who’s there in a society where there are so many
challenges around her, she’s standing up and she has also recognised the solution to
her problems. So, a girl in Mexico, where they have a problem of early child marriages
[and] most of the girls don’t go to school, that girl stands up and says: ‘I know that
the solution to my future and to be protected from early child marriages and to have
the opportunity to follow my dreams is education.
“I go to Lebanon and Jordan, and I meet Syrian refugee girls and they stand up in the
refugee camp and tell me the only way towards their future is education. That’s how
they can follow their dreams but also, [how] they can help rebuild their country one
day. And then I go to Nigeria and I meet girls who were abducted by Boko Haram
and they say education is the only way through which they can follow their
dreams and actually get hope again, and find themselves and help themselves. So
that’s one thing in common, they all agree. They all agree that there’s no better way
of investment than education. That’s the only way to empower girls.”
EW: “Yes. I’m curious, as you have become more and more famous, after you won the
Nobel Peace Prize, is there ever a difficulty in making decisions, because you must
get asked to do all sorts of things, go [to] all sorts of places, meet people, speak in
234
places, and sometimes that might mean a big support for
your foundation – you know, essentially being able to
support more women and girls, but sometimes what you’re
being asked to do or who you’re being asked to do it by
might not sit in line with your own personal morals and
beliefs. Is that ever a hard juggling act? Do you ever feel
pulled in a few different directions because on the one
hand something might be good for the fund [the Malala
Fund for female education] or might be good for and very
important for the work you’re doing, but also not quite sit
right with you … does that make sense?”
MY: “I think it does, and I think I would not say that it
happens in the fund’s work but maybe in general – because
the fund is completely focussed on girls’ education and
then girls’ secondary education and so on. There has never
been a point where I say I don’t want to do this work. Yes,
this is what I want to do; I want to do even more for the
Malala Fund. But I think in general, I don’t know … like
sometimes a political thing happens and there is a conflict
happening in a country, or like in Pakistan there are lots of
issues and people want your statement on things
happening around the world and you say: ‘Well, I have
thoughts about it and I have an opinion about it but maybe
I’m not the right person or it’s not the right time to give that
opinion.’ And I don’t want attention focussed on those
issues – I just don’t want people to lose attention from what
I stand up for, which is girls’ education, so I try to stay away.
But sometimes we have no choice. I also have to remember
I stand up for peace around the world and there might be
cases in which I should put forward my opinions.”
EW: “Yes, but these are difficult decisions, when to speak,
when not to speak, how to speak. Because, you have so
much influence, you have so much power. What you say
has so much power.”
MY: “I think you must be going through this as well!”
EW: “Yeah. (Laughs.) I think especially because the
industry that I work in, often a lot of what I’m asked to do
is at odds with my personal beliefs. It’s like walking a wire;
it’s an interesting juggling act.”
MY: “It’s like you’re doing the film’s promotion and your
message is just to promote the film and they start asking
you a different question and you say I don’t want that to be
the headline I want, you don’t want to create another story,
you don’t want the message to change so that’s what you
have to remember, and I know it’s challenging.”
EW: “Yes!
“I’m interested in how technology is changing what people
learn and how we can learn. Are you excited by
technological advancements? Do you think that’s going to
have a big impact on how we figure out how to educate
these 130 million girls who aren’t in school?”
MY: “I think definitely technology is an addition to our
fight for girls’ education; it’s going to boost our fight and
this is going to help us in finding solutions, because if we
focus on refugee children and how there are so many
difficulties in providing education to refugees in refugee
camps, so maybe bringing technology to that side would
be beneficial. Also, one example is my own mum. She
couldn’t go to school but now she goes to some English-
classes and she’s taking lessons and she’s spent some time
learning how to use a mobile phone and now she’s
improved. She can call someone if she needs help and
I think even the advantages of using one mobile phone are
countless for a woman who otherwise would not be able to
communicate with other people. I think in making access
to education easier, yes, technology can definitely help.
And I think in that case I’m really excited how the tech
sector and the NGO sector focussed on women and girls
can work together. I’m really excited for that.”
EW: “That’s a great answer. Thank you very much. What is
the most inspiring school – do you have a favourite? I know
it’s hard to choose favourites, but are there any particular
schools that you’ve visited recently that you’ve found
particularly inspiring?”
MY: “A school I found really inspiring was one that the
Malala Fund opened in Bekaa Valley in Lebanon. That was
on my 18th birthday and just to see the school that you
have invested in, that you had a dream about to make sure
that girls can get education and they can have a good
school and teachers and desks and, like, that whole
environment you imagine … and girls are studying there
and they are happy and they are smiling. Then you
actually go there and you open that school – that’s just like
a dream coming true, so I was just so happy to open that
school in Bekaa Valley for refugee[s], particularly refugee
girls. The smiles I saw on their faces I will never forget.
Like, I could just tell those girls were so happy for their
future – they just knew they had a future once they were
entering that building.”
EW: “Wow. That’s really an amazing story. Are there any
particular teachers that have personally influenced you
the most? Is there anyone you’re reading about or you feel
particularly inspired by recently?”
MY: “I think for teachers I would choose my father,
because he was a teacher and he started a school for girls
and boys and he really told girls – I was one of his students
– and he told all female students to believe in themselves.
I have learned a lot from my father, as a father but also as
a teacher. And then, all my teachers from childhood,
I looked up to them and to me they were like parents, and
the way I have built myself up and my character and how
to behave and how to treat other people is all because of
my teachers – that you should be kind, that you should
always be honest and truthful. These were just the simple
messages that they used to give us every day, and we
learned from that. But also, all these teachers who are
struggling, whether it’s in a conflict zone or in an area
where there are not enough schools and not enough
investment in teachers, and they’re working hard every
day, and they’re helping girls and boys in their
communities to learn … really, I think teachers are such
an important part of our society.”
EW: “Yes, I completely agree. I found that the subjects
I loved – even if it wasn’t the one I was particularly good at
– were the ones where I loved the teacher. They have so much impact and influence
on whether or not you want to study something or not. And that can change or
determine the course of someone’s life, you know, their life decisions, so it’s a really
big responsibility.
“Obviously, education doesn’t only happen in schools. What is the most important
thing you’ve learned from your friends or family? Is there a skill you’d love to learn
in the future?”
MY: “A skill? Okay, so before joining university I had a long list of things to do that
I wrote down: that I will finish my driving lessons and I’ll pass my driving test, learn
how to cook, I will literally do everything on Earth – and actually, I didn’t do
anything. It’s just you are so busy and you have so much work to do that it’s hard to
manage all this so it’s still my dream to pass my driving test and to learn how
to cook. And also, I can’t swim, so I want to learn how to swim.”
EW: “Ah, that’s great!”
MY: “It’s really important, I think. So, I definitely want to do that, but also just
continuing my work and I want to go to more countries because I receive letters from
girls all across the world, in places I never even think of. I want to go there and stand
with them and maybe tell them that when I hear from them it really inspires me to
continue on this work for girls’ education, and thank them for what they are doing
and it just gives hope, to all of us.”
EW: “Yes, yes. This is my last question … I’ll let you get back to you time at Oxford!
What are you reading at the moment, and if you don’t want to talk about what you’re
reading at the moment because it’s probably related to school, what book – obviously
other than your own, which is amazing! – would you encourage people to read that
has really inspired you and could inspire other people?”
MY: “Recently I just finished Animal Farm by George Orwell.”
EW: “Yes!”
MY: “Yes, so I finished that and it was a short book and I think it’s really interesting
about this human psychology of how we should live together and it has that historical
meaning as well and it’s in that context, but I try to look at it in [a] general sense, not a
historical sense, and not which leader or person it was referring to or which time, but
looking at how it applies to the current time as well. I was looking at it in that sense
and how we need to create a society where we collaborate, where we construct and
build a society that benefits each and every one of us and have this concept of welfare
in our mind of how we want to live. Because if we just pause for a second and say: ‘We
are in this world and how do we want to live? How do we want to collaborate? How do
we work together? What is the best way of helping each other?’ It just reminded me of
how all of us would want to have a good life, want to have shelter, want to have food,
want to have education and health. I think in that
scenario education, investing in education,
“I think investing in health, becomes so important. So,
definitely I recently read that book. I think in general my
favourite book is always The Alchemist.”
technology is EW: “Yes, it’s so good.”
an addition MY: “Did you actually like the Harry Potter book[s]?”
to our fight EW: “Yes, I loved them! My dad was reading
them to me and my brother and I had read the
for girls’ first three before I was cast in Harry Potter. So
education; it’s I was a massive, massive fan already.”
going to boost MY: “Okay. This is good, this is good to know.”
(Laughs.)
our fight and EW: “Yes, often the work I do is because of a book
this is going I love, it always starts with a book.
to help us “Well, Malala, thank you so much for your time,
this has been amazing.”
in finding For more information on the Malala Fund for the
solutions” education of women and girls, go to www.malala.org.
M A R C H 2018 235
Emma’s edit.

MORAL FABRIC
British designer Stella McCartney is renowned for
being at the forefront of ethical and sustainable luxury
fashion proving the detractors wrong. Here,
she shares her struggles, strengths and hopes for
the future. Photographed by Mary McCartney.

236
 I
f you do anything different or outside of the box, or if you’re an agent
for change, people often feel unsettled. When I started out, the concept
of not using leather or fur in luxury fashion was met with shock and
a lack of understanding. I would go so far as to say I was ridiculed.
We were questioned whether we could have any type of healthy
business and appeal to anyone on the planet. If I didn’t sell leather,
how could I have a fashion house? Because the majority of fashion
houses are really just selling leather handbags and leather shoes, not
clothing. So we are quite rare in our industry on every level, because we
sell ready-to-wear and have a healthy accessories business that is not
made out of dead animals. That is still unheard of within luxury brands.
From the beginning, the design and the following that we have of
women – and now men – ruled out the detractors. At the end of the day
design is always king. So if I’m designing something that’s crap, it
doesn’t matter if it’s the most sustainable thing on the planet – who
cares? Nobody wants it. I’m also not perfect – not at all! So the things
that aren’t perfect I try to challenge, and they’re on my agenda to tackle.
So I have to take it one step at a time. Because the minute you make
something, you’re damaging or using something – water, metal …
I have four children and if I panic or if I look too closely at the fact that
we have a limited period of time on the planet then I’ll just
give up. So you have to have a glass half-full personality to
wake up and get out of bed. I am, by nature, a more “I’ve always
positive, productive person. had to prove
What I have done over the years is show people that you
don’t need to sacrifice anything to be more mindful, more
myself … My
responsible and more conscious, both on a business level personality
and on a product level. There’s another way of doing is that of
business that moves us forward. A more modern way.
I imagine the future of fashion to look different to how
a survivor”
I dream it to look. I’m also quite realistic. I dream the
future of fashion is one of total modernity, and people designing outside
of just a silhouette or a colour, and thinking, challenging, creating
change and making it modern. This fashion industry is fundamentally
meant to drive itself from modernity to actually being modern, but for
me it’s actually one of the most old-fashioned industries on the planet.
There are very few houses that exist that are relatively young in the
luxury fashion world and so there are very few female-founded ones.
The fact that we still have a business in an industry where you see so
many brands is a massive achievement. So we use that traction to have
a department that solely looks into innovation, technology and
sustainable manufacturing and sourcing: not using animal glues or
PVC, or looking at organic cottons so it doesn’t involve cutting down
150 million trees a year. We’re all briefed so every single person in the
company is working alongside them. We’ve invested heavily at Stella
McCartney and shall do forever. At the end of the day, we’re working
in an area of the fashion industry that hasn’t been explored. We’re
challenging the luxury side to that conversation so that no matter what
it’s made out of, it doesn’t become landfill.
Because there are so many different types of ingredients to the
conversation, it is not about changing your mind but a constantly
shifting kind of field. For example, you can say that you want to use
organic cotton sourced from elsewhere, but if you look at the
A S TO L D TO Z A R A W O N G
environmental footprint of shipping it around the world, it might be
more harmful than just using conventional cotton. Or it could be about
yields and how one method is a better use of land than the other, or it
could be about the dyeing process. So when you’re starting to try to
manufacture and design with a responsible mind, you have to respond
to nature, which is forever changing. You have to keep refining new
information and ask yourself questions like: is bamboo better than
corn? Is corn better than something else? Luckily with technology …
hopefully the next generation will find solutions in the laboratory.
All my stores have natural materials in them. With lighting, if I can
use solar energy, I will. If I can use wind energy, I will. But there are
some parts of the world where we can’t access these renewable energy
sources. It’s complicated and it’s a commitment. I mean, I can see why
people don’t do it; it’s much, much easier to not conduct yourself and
business in this way. And I think that’s why we’ve arrived with these
alternatives for the mass production of power or the mass production of
product; it’s easier. But with that ease comes a lot of damage.
We are gaining information every day and we have better access to
better information. We have more choices and I think humans are now
realising that if we don’t work with our fellow creatures and with our
planet in mind, we will destroy the thing that keeps us alive. We’re selfish
creatures and when we see that we could be in danger it is the moment
that we stop and reflect and try to take responsibility.
This conversation, I hope, will be redundant in a few years. The next
generation has more vegans and more vegetarians. The idea that we’re
killing billions of animals and cutting down trees to make
fabric is just ridiculous. It’s ridiculous that we use boiled-
down animal bones and we’re raping our oceans of their
life! It’s so old-fashioned and medieval.
I was brought up with very mindful parents. There were
so many people that I looked up to in music who had such
an adamant and strong position, like Chrissie Hynde and
Morrissey, who were very similar to my mother and father
in really being change agents. They’re not afraid to be
different and they’re not apologising for their beliefs. We
were brought up on an organic farm and my parents had
to work very early on to establish what an organic farm meant.
It’s really important to work alongside my dad and my sister for Meat-
Free Monday, which is a simple campaign of awareness that has had
such massive impact. Giving up meat one day per week is equivalent of
giving up all transport for an entire week; it’s very simple steps. The
important thing is to not preach to the already converted. The fear
needs to be removed and we now have so much more information that
make it a little bit more palatable for people.
I once had very, very high-up people questioning whether a woman
could actually have a fashion house. And, a British woman. It was the
last attempt to plant a seed of fear, which luckily, fell on deaf ears. That
conversation has changed; there’s been a very slow shift in women’s
equality over hundreds and hundreds of years. There are a million
things that need to be done, but I think come at it with a positive
approach and with solutions, and in all the darkness to see the light.
I’m very aware of my position of privilege. But to not use that privilege
to do something good, to just sit and live off somebody else’s success,
was never really my place. And so I think I’ve always had to prove
myself to a certain extent. My personality is that of a survivor.
At the beginning of my career, my first challenge was: ‘Why should
anyone with a famous heritage like mine have a job in their right?’ Then
my second was to be a woman, and my third is to be the one with some
kind of message beyond that – a commitment to something. I’m
challenging conventions and creating solutions for people and I’m trying
to bring awareness. Shaking up the industry is something that I’m proud
of. And essentially, I’m all up for proving people wrong. But now I think
I’m trying to prove it in another way and get real benefit from it. ■
M A R C H 2018 237
 s p e a k
v o l u m e s
The new shapes come alive on Australian model
Charlee Fraser: day to night, a vision of things to come.
Styled by Christine Centenera. Photographed by Sebastian Kim.

WINNING SIDE
Saint Laurent dress, $17,510,
and boots, $14,010.

MARCH 2018 239

A R M E D A N D R E A DY
Gucci playsuit, $20,020.
 B A L L PA R K
Versace shirt, $1,400,
skirt, $12,400, belt, $720,
and boots, $4,720.
SEBASTIAN KIM
 FOR THE
SEBASTIAN KIM

FRILL OF IT
Christopher Kane
coat, $7,595.
 SHOULDER
TO SHOULDER
Alexander McQueen jacket,
$4,550, bra, $1,510,
and pants, $1,180.
SEBASTIAN KIM

BLUE HAZE
Off White c/o
Virgil Abloh
dress, $6,200.
 WELL SHRED
Calvin Klein 205W39NYC
dress, P.O.A.
SEBASTIAN KIM
c e n t r e
p i e c e s
Alexandre Vauthier
dress, P.O.A.
 MAKING
HER MARK
Madeline Stuart, as the world’s first professional adult model with
Down syndrome, is putting diversity front and centre on the catwalk
and inspiring others to achieve their goals, too. By Jane Albert.

R
Styled by Nicole Bonython-Hines. Photographed by Duncan Killick.
osanne Stuart loves nothing more than a girls’ day out with her daughter Madeline,
but as one particular outing began in mid-2015 she realised she may not have
chosen wisely. The pair had planned to see a fashion parade in their home city of
Brisbane, and as they took their seats beside the catwalk Stuart took one look at
Madeline’s face and knew she had a new dream.
Only a few weeks earlier they’d gone to watch a Rabbitohs match. Sitting in the
stands proudly wearing her Rabbitohs jersey, Madeline became agitated. A keen
football player herself, the then-19-year-old couldn’t understand why she wasn’t allowed on the
field to compete. It was no different that fateful August morning. As the models began striding
down the catwalk, Madeline turned to her mother and stated: ‘Mum, me model.’
Madeline isn’t like other people. When she sees something she wants, she goes after it. She has
a healthy sense of self-belief and is intimidated by no-one. She also happens to have Down
syndrome, but neither Stuart nor Madeline has ever seen that as an impediment.
Like many people with Down syndrome, Madeline struggled with her weight, but aside from
that Stuart saw no reason why Madeline shouldn’t try modelling. She encouraged her daughter
to pursue a healthy diet and daily gym sessions, pointing out: “If you want to be a professional
be a professional, don’t just expect something because you look different’ and rewarded
Madeline’s successful efforts with professional hair and make-up, followed by a photo shoot.
Stuart was stunned with the results. With the support of her peers in the close-knit Down
syndrome community, she created a public figure page on Facebook and posted a before and
after shot. Within days the photo had been viewed nearly seven million times, resulting in
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
H A R : TAY LO R J A M E S R E D M A N M A K E- U P: F LO M E N A N ATO L

stories being published in newspapers around the world from Iceland to Mexico, Cuba and the
US. Within the month she had been invited to walk at New York fashion week, resulting in
Madeline Stuart being one of the first adult models with Down syndrome to walk in a fashion
show. Indeed she is the first professional adult model with Down syndrome full-stop. In 2017,
the influential Forbes magazine named Madeline number one for Diversity in the Fashion
Industry, for ‘normalising Down syndrome’. Dozens more runways have followed: Paris,
London, Runway Dubai and Mercedes-Benz Fashion Week China, among many others. The only
person who wasn’t surprised to have smashed through this largely impenetrable diversity
boundary was Madeline herself.
“Madeline has been raised every day being told she’s beautiful and capable. She wouldn’t know
what it’s like not to believe in herself,” Stuart explains, adding her daughter recently addressed
1,500 people, including Eva Longoria and Jamie Foxx, after receiving the Quincy Jones ¤

M A R C H 2018 283
Exceptional Advocacy Award in Denver. Despite dancing with Foxx for
much of the after party, it was the cameraman who really impressed
her, as he did the best dab. “She doesn’t get starstruck. Her role models
are people who are loving and kind.”
If only the doctor who delivered her could see Madeline now. Stuart
was 26 when she gave birth to her daughter in Queensland. Before she
could even see the newborn the doctor had whisked her away to another
room. Staff explained her daughter had Down syndrome, but there
were options she could consider. A former model turned carpenter and
building surveyor, Stuart’s response was: “What’s Down syndrome?”
The doctor told her to leave the baby at the hospital and start over;
pointing out the child would never amount to anything and would only
mature to the mental age of a seven year old. Stuart took the advice and
did start over, but not in the way he imagined. She shut the door to the
rest of the world and cried for three days; then gathered herself together,
separated from Madeline’s father and never looked back.
Sitting in Vogue’s photographic studio being tended to by hair and
make-up artists ahead of her shoot, Madeline appears every inch the
seasoned professional. And so she should: this year she will walk in
New York, London, Paris and Istanbul, where a designer is creating a
collection specifically to showcase Madeline; and she will attend various
functions in Albania for World Down Syndrome Day on March 21.
But it isn’t only fashion. In her 21 young years Madeline has
represented her state in cricket and basketball at the Special Olympics,
where she met her boyfriend of four years, Robbie Streeting; in addition
to performing with InsideOutside, the Queensland-based dance school
Stuart founded in 2015 that caters largely for people with disabilities.
Then there are the countless charities Madeline supports, from the
Endeavour Foundation Australia to Step Up for Downs in America; a
documentary from Swedish company B-Reel Productions being
released this year and the fashion label Madeline launched at New York
fashion week last February, 21 Reasons Why, with a third line being
released later this year. “The thing with this industry is you have to
keep evolving,” Stuart says wearily.
One of the oldest-known disorders in the world, Down syndrome is
also one of the most under-researched. It occurs when babies are born
with an extra chromosome 21, with varying intellectual and physical
disabilities as a result, ranging from heart defects to impaired vision
and respiratory issues. There are around 15,000 people in Australia
living with Down syndrome and seven million globally.
Not only does Stuart believe her daughter is the first adult model with
Down syndrome to work on the
fashion circuit, last year she secured
her first sponsorship for Madeline, “We have to
with Worldhotels. “She is the queen stop thinking
of disability in America, because
she’s helped change it for everyone.
that if we use
Any organisation you talk to, they’ll someone who’s
tell you Madeline is the one who a bit different
opened the door,” Stuart says.
As Madeline’s manager and mother,
in advertising
Stuart is justifiably proud of the it’s a negative
sponsorship. She is also unimpressed thing … we have
that the fashion and beauty industries the opportunity
have not been forthcoming.
There is no doubt the fashion to change how
industry is finally becoming more we think”
284
diverse, from representing all ethnicities to booking transgender
models and occasionally venturing beyond the traditional height and
weight restrictions. But when it comes to embracing models with a
disability progress is moving at a glacial pace; and those who have
made it fear tokenism.
The Business of Fashion recently noted that 15 per cent of people
globally – 1.2 billion – have a physical or mental disability, yet you can
count on one hand the number of models who hail from this group. In
his 2014 collection Diesel artistic director Nicola Formichetti cast Jillian
Mercado, a model with spastic muscular dystrophy who uses a
wheelchair, as one of the models in his We Are Connected campaign. He
was broadly applauded for such a bold, inclusive move, and Mercado
was later signed to IMG Models, going on to model Beyoncé’s apparel
line with ads for Target and Nordstrom following soon after. That same
year Danielle Sheypuk became the first model in a wheelchair to appear
at New York Fashion Week; and in 2015 – the year of Madeline’s debut –
British model Jack Eyers was the first male amputee to walk, also at New
York fashion week.
They are all steps in the right direction, provided the companies and
labels working with these models have their best interests at heart
rather than a one-off ‘token’ job, which can be a thinly-veiled grab
for publicity.
“In the beginning, when Madeline went viral, she got two contracts,
but people honestly believe they’re doing her a favour because she has
a disability,” says Stuart, pointing out that smaller designers who don’t
have a lot of money can invite her to walk for them in order to get their
own name out – after all, Madeline has almost one million followers on
social media.
A glance through her Instagram feed depicts a life of beauty and
glamour, and to an extent that’s true. It is also exhausting and Stuart
says she’s never cried as much as she has in the past two years. While
Madeline is continually acknowledged as an international game-
changer, the one who is encouraging people to be viewed for what they
can do rather than what they can’t, there is still a long, long way to go.
Television and advertising companies show great initial interest in
Madeline, only to turn away when they realise she has limited speech,
unlike American Horror Story actor Jamie Brewer, who has Down
syndrome but speaks fluently. Stuart has tried, and failed, to have
Madeline signed to an agency, meaning her pay isn’t always
commensurate with that of other professional models.
“We have to stop thinking that if we use someone who’s a bit different
in advertising it’s a negative thing. As a society we have the opportunity
to change how we think,” Stuart says, adding that an easy solution to
overcome Madeline’s speech limitations is to use a voiceover. “One in
seven people has a disability. They’re not going to go away.”
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
The distress Stuart feels softens when she considers the global impact
Madeline has had. In addition to the huge number of responses
Madeline’s social media posts constantly attract, Stuart receives regular
emails from people thanking her, often opening up about their
own stories.
“I’ve had people come up to me and say: ‘I’m 30 days drug-free; if
Madeline can do it I can.’ Just the other day there was a message from a
woman who had given birth to a boy with Down syndrome and says
she looks at Madeline’s Facebook page every day, because it gives her
DUNCAN K LL CK
hope. That’s why we do it. As a society we’ve become so obsessed with
fast cars and big houses we’ve lost all connection with humanity. And
people like Madeline put the colour into the world.” ■
T he guide leading us along the dry creek bed stops and points
ahead. A small group of kangaroos surrounds a puddle that’s
seeped up from the underground water table, taking turns to
drink. One of the larger male roos decides he doesn’t want to wait for
his turn and tries to muscle in, sparking a fight with another male. They
rear on their hind legs and box for a few moments before the matter is
settled and they turn their backs on each other.
Our gaze turns to the wedge-tailed eagle soaring overhead on a
thermal in the late-afternoon heat and then to what the eagle is eyeing
off as a potential meal: a family of emus approaching the water hole.
The two chicks – little bigger than domestic chickens at this stage, on long
spindly legs – rush forward into the water, their much more cautious
father (for it’s the males who raise the kids) taking his time checking out
the eucalypt-lined embankment and our small group of walkers before
splaying his legs and flopping down into the mud to drink.
We’re at Arkaba, a nature conservancy and tourism venture in South
Australia’s Flinders Ranges, on an ambling walk from the charming 1851
homestead along a dry creek to the former sheep station’s shearing shed.
It’s a rugged, parched 160 square-kilometre property that takes in rolling
(and at times roller-coasting) hills and the sheer formations of the Elder
Range, just one of the mountain ranges that make up the Flinders.
Acquired by Wild Bush Luxury, which also runs the Bamurru Plains
wetlands retreat in the Northern Territory, Arkaba opened its doors to
paying guests in 2009, with the last sheep taken off the property in 2013.
Sheep trails still crisscross the sparsely vegetated hills like fresh scars,
a reminder of the havoc the animals played on an environment into
which no hoofed animals had previously stepped. As I’m told several
times during my stay here, no Australian native animal has hoofs.
“When I first came here, I didn’t know where the road was,” says
general manager Brendon Bevan, an enthusiastic South African who’s
been running the property for the past eight years. “There was no
distinct edge where the vegetation started growing and the road was
cleared. It was a moonscape. Bald. Now, with the sheep gone, it’s not as
good as it will be, but in a short amount of time it’s really leapt at the
opportunity to recover, having taken this pressure off.”
This barren, sun-baked landscape is very much familiar, part of our
national iconography in fact, so it comes as a shock to be told what I’m
really looking at is a scene of environmental devastation, one that’s only
just begun to recover.
As he takes me around the massive property, Bevan often speaks in
terms of pressure – pressure on native plants, pressure on the birds and
the smaller marsupials and pressure on the water table, as well as the
pressure that he and his staff are bringing to bear on non-native predators
to help restore native animal populations. Returning this place to
something resembling its pre-European-settlement days is an enormous
task, especially given the state of the land after 150 years of sheep farming.
One of the biggest issues Arkaba faces is the sheer number of non-
native predators and competitors for scarce resources – foxes, goats,
rabbits and, of course, feral cats, the biggest threat to native wildlife
after habitat removal.
“I refer to our non-native predators as poachers,” says Bevan. ”I was
in anti-poaching units in South Africa for years and it’s a very similar
battle: with feral cats you’re up against a very educated, formidable
adversary you’re trying to outwit and outsmart.”
Alongside such steps as turning off the windmills – another outback
icon with a hidden cost – to allow the water table to replenish and natural
springs to re-emerge across the property, and clearing cover around
water sources so feral cats can’t ambush birds when they come to drink,
Bevan and his team are continually applying that pressure to non-native
predators, removing as many as they can through trapping and shooting.
It’s not pretty, indeed, several times Bevan tells me it’s a horrible job, but
one that’s crucial for the recovery of the land and its wildlife. ¤
M A R C H 2018 287
VOGUE VOYAGE

“I spent seven years of my life in Africa studying and preserving

cats,” he says, “and I’ve spent eight years in Australia doing exactly the
opposite, but for good reason. A feral cat will kill from one or two
animals up to 18 animals over a 24-hour period. Sixteen years of
research will tell you we’re losing anywhere between 60 and 80 million
native animals a day to feral predators.
“Take the 400-odd foxes and 280-odd cats I’ve removed from Arkaba
… if we assume a conservative figure of five animals a day, removing
600-plus animals over eight years, it’s knocking on the door of five
million native animals we’ve saved. That’s the bigger picture.”
Besides Bevan’s South African accent and the light-khaki shirts the
guides wear, there’s very much an air of an African safari to the Arkaba
experience: guests are taken out in an open-air Land Cruiser with a
raised tarpaulin canopy, binoculars at the ready to spot not lions and
leopards but kangaroos, wallaroos, rock wallabies and emus amid the
prickly acacia trees and spinifex tussocks springing back to life.
The bird population has bounced back to the extent I’m woken up at
the homestead by a flock of pink galahs gathering in the tree outside my
room – a dramatic improvement on when Bevan first arrived and found
that the mornings were depressingly quiet. It’s not just the birds that
have returned to the property, says Bevan: “We’ve had our first western
quoll since 1888 – it was a big day, very exciting – and now we’re seeing 1.
small marsupials, stripe-faced dunnarts, fat-tailed dunnarts, little
things most Australians have never heard of.
“It took me three years to see an echidna on Arkaba, then in the last
walking season we encountered 67 in a seven-month season. We had an
ageing population of echidnas, big ones with established defence
mechanisms, solid spines on them. The next generation … that little
puggle, the moment he was denned, he was sniffed out and hammered.
I’m not saying it’s optimal yet, but it’s bloody healthy now: we’re seeing
big ones, little ones, denned young in creek-bed embankments because
they’re not getting smashed by cats and foxes the moment they’re out of
the pouch. Bird life, reptiles like the gidgee skinks … we’ve seen them
come back in numbers. It’s very rewarding.”
Returning to the homestead in the early evening, we’re greeted by a
guide-turned-drinks waiter standing out front with a tray of chilled face
towels and passionfruit daiquiris, having been alerted to our imminent
arrival via short-wave radio. Dinner is being expertly prepared by one of
the two resident chefs using South Australian produce and served under 7.
cover at a hefty glass-topped table at the back of the homestead. This is
the luxe part of the Wild Bush Luxury experience, although you can also
opt to do a four-day Arkaba Walk, which takes you from the nearby
Wilpena Pound range across Arkaba’s 26,000 hectares, staying overnight
at two established camp sites in the hills.
With the dessert plates cleared and wine glasses refilled, we gaze out at
the dozen or so kangaroos who’ve hopped over the courtyard fence to
dine out on the green lawn of the small back garden. One by one my
fellow guests retire for the evening and lights go off in the homestead.
A blaze of stars fills the night sky and I step onto the lawn to take it all in.
In the darkness I half-see, half-hear the roos around me, paying me no
attention as they chomp on the grass. In the morning, a guide will sweep
up the hundreds of dry roo droppings left on the lawn before guests
appear for breakfast. And life at Arkaba will go on.
DAV E W H E E L E R

For details on Arkaba homestead stays, go to www.arkabaconservancy.com.

And for more on the Arkaba Walk, go to www.arkabawalk.com. With thanks to
South Australian Tourism Commission; southaustralia.com.

288
 “Our guests are not spectators on
a bus: they are participants in a
wonderful recovery story”
– Arkaba’s Brendon Bevan

3.

2.

5.

8.

1. Hardy native cypress trees dot the rocky 9.

hills of Arkaba Conservancy. 2. Guide Charlie
Eager at the wheel of Arkaba’s open-air Land
Cruiser – guests can go on a number of 4WD
safaris and as well as walks within the
property. 3. The lobby of the homestead, an
extension of the 1851 building. 4. A  claw-foot
bathtub in a homestead suite. 5. The rugged
Elder Range forms a striking backdrop for
the homestead. 6. Arkaba’s recovering
bird population includes these apostlebirds,
a mud-nesting species that is particularly
vulnerable to feral cats. 7. A shower stall at a
permanent overnight camp for guests on
the Arkaba Walk. 8. A suite in the homestead,
with an ostrich-egg lamp stand and wool-bale
nightstand. 9. An emu looks over his chicks at
a water hole on the property.

M A R C H 2018 289
VOGUE PROMOTION
 Pisces
19 FEBRUARY – 20 MARCH
Let go of any intensity around
love, money, intimacy or power
plays this month. It’s you who
have the power, plus a rock-solid
crew behind you to make things
happen. Be prepared to do the
negotiation dance – it may take
a while before things are settled,
so relax some of your dogmatic
views for a win-win result.
STYLE ICON: Eva Mendes
Gemini
22 MAY – 21 JUNE
Your home and relationships
need some attention this month,
and the two areas could be
linked. What do you want from
life and what you need to put
into it to achieve that? A serious
rejig of your ambitions is due,
and a whole new and more
holistic way of working and
working out could emerge now.
STYLE ICON: Lily-Rose Depp
Virgo
24 AUGUST – 22 SEPTEMBER
Your wellbeing and cash flow
need TLC this month so fire up
your creativity as your talents
could add extra funds. A review
of responsibilities and intimacy is
also due now with a relationship
makeover to ensure that, solo or
sorted, you’re looking out for
others rather than going all
out for what you can get.
STYLE ICON: Michelle Williams
Sagittarius
23 NOVEMBER – 21 DECEMBER
Keep your options open with
your career, friends and wildest
dreams this month. Love and
money are strong motivators
now though a need to pacify a
A S T R O LO G E R : S T E L L A N O VA
home situation could be the
catalyst for spending more hours
chez vous. Whatever your status,
a romantic blast from the past
could resurface.
STYLE ICON: Rita Ora
Aries
21 MARCH – 20 APRIL
Your powers of attraction are
at a peak now but there’s also
confusion about your look and
your love-life. It’s an ideal time
to refresh the way you nurture
your body and how you handle
relationships. A soft touch in all
areas has more effect now, except
with career where persistence
wears down resistance.
STYLE ICON: Emma Watson
Cancer
22 JUNE – 22 JULY
Make ‘question everything,
learn something and answer
nothing’ your mantra now. If
what’s close to home feels too
intense, escaping it will set you
free emotionally, intellectually
and spiritually. Hot love or a
passion project cools, though
your indifference may keep a
certain someone else keen.
STYLE ICON: Margot Robbie
Libra
23 SEPTEMBER – 23 OCTOBER
You could feel pushed to
extremes now so invest in your
wellbeing to keep on top of it all.
A personal and professional
relationship rethink is due now
too. Communication could be
confused so be clear on all issues
linked to love and money. This
could involve switching up your
ingrained attitudes.
STYLE ICON: Kim Kardashian West
Capricorn
22 DECEMBER – 20 JANUARY
An information gap could cause
a hold-up at work now, and it
could mean topping up your
skills or going back to the root
cause of a concern to start over.
More empathy with the way you
connect is the key, as a recent
full-on fun-fest with ambitions
and amigos goes temporarily
on the back burner.
STYLE ICON: Kate Middleton
Taurus
HOROSCOPES
March
21 APRIL – 21 MAY
If love has got lost in translation
lately, this month you get to
reassess the situation. Let love
come to you. Hang out with new
tribes and collaborate on fulfilling
some big dreams. An undercover
lover could emerge sooner than
you think while you’ll have
fulfilled some major personal
and professional ambitions.
STYLE ICON: Gigi Hadid
Leo
23 JULY – 23 AUGUST
Miscommunications are likely
now, as is a tendency to shoot the
messenger rather than tackle the
real source of any irritation. The
main button-pushers are love and
money but rather than just sign
of, seek sound advice. A fresh
start is possible by getting some
distance and perspective so a trip
away could work wonders.
STYLE ICON: Cara Delevingne
Scorpio
24 OCTOBER – 22 NOVEMBER
It’s time to complete a project, or
accept that it’s not ‘you’ any more
and move on. The same goes for
your go-to crew, so celebrate
supporters and cut loose the
hangers-on. Be kind to yourself
as this could mess with your
mind and body. True creativity
and love are set to soar as you
get to the heart of the matter.
Style icon: Rachel McAdams
Aquarius
21 JANUARY – 18 FEBRUARY
A sense that things have reached
a natural conclusion with a work
or personal ambition frees you to
pursue new avenues in both
areas. Review what you have to
offer and what you might need
to learn to open up new
opportunities. The language of
love could come out all wrong
now, so say what you mean.
STYLE ICON: Rosamund Pike
MARCH 2018 291
 STATE OF STYLE A’ILAH CLOTHING
STATE OF MIND...STATE OF STYLE Shop our favourite collections of
Your online fusion of luxury Australian fashion labels including
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designer fashion, health & lifestyle. Mossman, Lioness, Prem by

Specialising in personalised client Premonition, Lost in Lunar + Many
care, showcasing designer labels More. Available exclusively online.
including Thurley, Sancia, Misha She is Feminine, Audacious and
Collection, Mode Collective + Modern - A’ilah Clothing.
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Exclusive to Vogue readers 20% Exclusive to Vogue readers this
off every order in March using Good Friday is 30% off EVERY order
code “VOGUE20” in March. Use code GOODFRIDAY.
Image credit Madison Square.
State Of Style Boutique
_state_of_style_ ailahclothing
stateofstyle.net.au www.ailahclothing.com

BELMORE AUSTRALIA TIGER AND TAUPE

Shoes designed in Melbourne, made in
Sydney, certified by Ethical Clothing
Australia. Belmore is focussed on
classical designs to create timeless shoes
for men and women, with much of the
collection made using kangaroo leather.
Use discount code: LACEUP15 & take 15%
off lace up styles this month*!
(*offer ends 10/4/18)
0438 123 599
BelmoreAustralia
belmoreaustralia.com.au
Matte lips have never felt so good.
A seven-strong entourage of high-impact
shades to chaperone you through each
day of the week. Tiger & Taupe’s matte
liquid lipsticks are renowned for their
concentrated pigments and magical
lightweight formula, providing effortless
application and long lasting comfort.
All products are vegan friendly and
cruelty-free.
Exclusive for Vogue readers. Take 20%
off all products. Use the code VOGUE20
tigerandtaupe
tigerandtaupe_
tigerandtaupe.com

BLUSH CLOTHING
PLAYHOUSE
Affordable yet luxurious in sizes
6 - 22! Whether your style
includes a touch of boho or all
out glam, this new Australian
designed label is all about the
playful side of fashion.
Use code ‘VOGUE’ for 20% off!
Image by @quackpotmedia

blushclothingplayhouse
TO ADVERTISE PLEASE CONTACT AMY FREAR 1300 139 305

blushclothingplayhouse
blushclothingplayhouse.com

GET INTO FASHION

STYLING
Work as a freelance fashion stylist or
BELLE COULEUR within the main branches of
professional styling including TV,
Australian luxe leather and hide accessories label. advertising, photo shoots, wardrobe
and image consultancy. Phone the
Each piece is an original designed to be uncomplicated in form and Australian College of Professional
function with an emphasis on the raw beauty and unique detail of the Styling for a free course guide today.
natural hide and leather.
1800 238 811
AustralianCollegeOf
Belle Couleur ProfessionalStyling
bellecouleur_accessories collegeofstyle
bellecouleur.com.au austcollegeprofessionalstyling.com
 I LOVE LINEN LIONEL THE LABEL
Love the seductive power a Inspired by coastal living and
good set of sheets can create? festival culture, Lionel the Label
So do we. introduces a collection of

VOGUE AUSTRALIA DIRECTORY

Slip into our vintage wash swimwear, casual wear and
French flax, luxe Bamboo & festival fashion.
soft Egyptian cotton bedding Made in Australia, each garment
and you’ll want to stay in bed is constructed with precision,
all day. love and a sustainable approach
Delivered straight to your to the fashion industry.
door – let us help you live a
beautiful life.

ILOVELINEN lionelthelabel
ilovelinen lionelthelabel
ilovelinen.com.au lionelthelabel.com.au

TRENDY CREATURE STYLED BY BELLA

Find the perfect dress for your
Chic. Stylish. Fresh Designs. special event for a fraction of the
We celebrate and champion cost at Styled by Bella.
beautiful designs with a Offering garments for a range of
unique point of view. In our events including engagements,
jewellery collection, we are birthdays, work functions, school
drawn to fine metals balls, formal events, cocktail parties
sculpted into soft curves and and wedding guests.
lines, creating exclusive light Make up & Hair services available
handcrafted jewellery in store or mobile for any occasion.
designs for each season.
info@styledbybella.com.au
trendycreature styledbybella
trendycreature sbb_makeupbar
trendycreature.com styledbybella.com.au

EVAS SUNDAY

Eva’s Sunday is an Australian

designed linen label with a
modern, layered aesthetic.

Stocked by 80+ boutiques

around Australia & New
Zealand or available in one
of our stores. Details online.

MARCH 2018

evassunday
evassunday.com.au
 MOVE YOUR BODY HUTCH STORE
EVERY SHAPE. EVERY SIZE. Hutch is your go to store for
EVERY BODY. on trend fashion for both
VOGUE AUSTRALIA DIRECTORY

women and men.

Shop high quality Activewear labels
that are designed with YOU in
mind. Looks that are not only
fashionable and functional but will
have you feeling comfortable and
confident in your own skin, no
matter what shape, size or stage
of life you might be in.
Offering Australian brands,
with versatile options that can
be taken from day to night
and back to day. Create a
style that is effortless,
confident and unique to you.

moveyourbodyfitness hutchstoreaustralia
moveyourbodyhf hutchstore
www.moveyourbodyfitness.com.au hutchstore.com.au

TEDDY MAC ZOE AUSTIN

Teddy Mac was crafted in front of a Zoe Austin specialises in
fire-pit over a bottle of red wine in unique sterling silver and
the winter of 2015. From extremely gold jewellery sourced
humble beginnings, a whole lot of from across the globe.
crying, and an absurd amount of At Zoe Austin, style
temper tantrums Teddy Mac doesn’t need to break the
Boutique now has a proud array of bank. Shop online or at
bohemian inspired and ethically our flagship store in
sourced slow fashion pieces. Craigieburn, Melbourne.
Teddy Mac is about being free craigieburn
spirited, fun, and kind, and with a @zoeaustin.com.au
love for linen, texture and prints.
zoeaustincraigieburn
teddymacboutique zoeaustincraigieburn
teddymacboutique.com www.zoeaustin.com.au

MUSSEN BOUTIQUE
Mussen Boutique is a Canberra based
women’s clothing destination focused
on beautiful, affordable fashions.

Always on the look out for that

perfect piece founders Mia & Zimona
have a passion for Australian Design
ZEBRANO | SIZES 14+ and strive to deliver unique and
Exquisitely designed clothes and a selection to die for... Select from fashion forward styles with
Australia & NZ’s top labels in sizes 14+. Mela Purdie, Chocolat, Obi, exceptional customer service.
Curate by Trelise Cooper, Euphoria, 17 Sundays, Megan Salmon, NYDJ
& so much more.
Get your order delivered GST FREE and get FREE RETURNS on all
TO ADVERTISE PLEASE CONTACT AMY FREAR 1300 139 305

Australian orders. mussenclothing

zebrano.com.au mussen.com.au

ENVY ATTIRE HIRE RITMO BCN

Australia’s one stop shop for Hola! We welcome you Ritmo BCN.
designer rentals, providing luxury Beautiful, classic and comfortable
designer garments at a fraction of espadrilles designed in Barcelona
the recommended retail price. and handcrafted in an espadrille
heritage rich village of Spain.
Express postage Australia-wide,
the latest offerings straight from Sustaining the Spanish heritage
the catwalk. of the espadrille, our design
philosophy is simple with a key
Exclusive to Vogue readers, use focus on crafting all the classic
code VOGUE10, to receive 10% off silhouettes using premium Spanish
your first rental. leathers and materials.

envyattirehire ritmobcn
www.envyattirehire.com ritmobcn.com
 swn b
SLAY THE LABEL
Tomorrow’s fashion today,
keeping your wardrobe modern
and relevant with easy to wear
European trends.
Shop now with code ‘VOGUE18’
to receive 15% off your order.
slaythelabel
slay.thelabel
slaythelabel.com
MAAR.
THE V SPOT
An ethical and vegan
friendly shopping
experience for the
finest in eco fashion
and clean beauty.
Every purchase receives
a free sampling gift
valued at $20.00,
simply mention VOGUE
when ordering.
theVspotAUS
thevspotaus
thevspot.com.au
SWNABT
A boutique collection from
Sydney based designer
Kara Davis, SWAN ABOUT in
something unique this season.
BE BRAVE
BE EFFORTLESS
BE FREE
swnabt
swnabt
swnabt.com.au
ELIISE MAAR JEWELLERY
Eliise Maar Jewellery is a Melbourne
based contemporary minimalist
jewellery brand drawing inspiration
from European nature and
geometric shapes.
Each piece of jewellery is hand
crafted in their Melbourne studio and
made to order. Shop from the range
of jewellery online or contact her for
a bespoke piece.
Eliisemaar
maarjewellery
eliisemaar.com
BARE BODY BOUTIQUE
The Bare Body Boutique is
Australia’s number one swimwear
VOGUE AUSTRALIA DIRECTORY
store offering the hottest and
stylish range of bikinis in one
place. With the likes of the
Kardashians spotted in their
swimwear, there’s no other place
to shop this summer.
Discover the curated collection
online and use the exclusive code
VOGUE for 10% off your order.
thebarebodyboutique
thebarebodyboutique
thebarebody.com.au
QUEEN BEE
Bump friendly trends, the latest
breastfeeding wear and special
occasion dresses.
With over 60 designer brands,
you’ll find that pregnancy can
be fashionable.
Enjoy a stylish pregnancy
10% off with discount code
VOGUE10
queenbeematernity
queenbeematernity
queenbee.com.au
READY OR NOT
A dynamic designer boutique that
offers diverse collections imported
from across the globe. Classic
beauty with a charismatic edge.
Equipment | Go Silk | Joie |
Hunkydory | Free People | 3x1
Estilo Emporio | Area Forte
32b Sunshine Beach Road,
Noosa Heads, QLD
07 5448 0600
readyornotnoosa
readyornotnoosa.com
JUST MY STYLE
Look stunning at your next
event in a designer dress
delivered straight to you.
Don’t pay retail. Choose from
our range of beautiful dresses
for hire. New styles added
regularly.
Exclusive offer for Vogue
MARCH 2018
customers. Use code VOGUE30
for 30% off your first hire.
info@justmystyle.com.au
justmystyledressrentals
justmystyle_dress_hire
justmystyle.com.au
 L AST PAGE

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

ART DIREC TION D IJANA MAD D I SO N ST YLING B E TH I E G I R MAI

PHOTOG R APH EDWAR D U R RUTIA

296 MARCH 2018